#traumatized codependent people are so much more likely to keep making do while only half realizing it for one thing

[dialux]

i tag-vomited in that Maedhros is a hill person while Maglor is a beaches person post about this, but upon some further percolation (as well as this map I saw from @thefatedfinwe) my ideas for the conversations in that time period have crystallized into:

The Ambarussa were, apparently, fairly young for everything Feanor was dumping on their shoulders (I’d guess elven late teens/early twenties?). And they were also probably surrounded by over-protective brothers, right up until Maedhros is captured and suddenly the two protective elder brothers have other things on their mind (Maedhros with... torture, and Maglor with ensuring the rest of his people aren’t dead), so these two are a) traumatized by their father’s death, b) being raised by Celegorm, a person who probably thinks dangling people over wells is a fun time, c) in a despairing, bitter environment. But they grow up! They take on responsibility, make others’ lives easier, etc etc etc.

And then Maedhros returns and his youngest brothers aren’t exactly the kids he left behind

How much lobbying did they have to do to get hunting lands of their own? They were probably supposed to go with Caranthir to Thargelion, only both twins were like How About No

Celegorm tells Maedhros that the kids are fine, they once got separated from the camp and took out a hundred orcs all on their own, they’re plenty capable of having their own lands and keeping them safe.

Celegorm forgets that he hasn’t told this story to Maglor, and, quite predictably, both Maglor and Maedhros spend a day shouting at Celegorm for being such a shit guardian

Maglor, on the other hand, might like horses, but he doesn’t like plains, and Maedhros decides to send him to the GAP, which has, like, a couple rivers and that’s it

Yes, Maglor’s pissed off about it. Yes, Maglor wanted Thargelion.

Thing is, Caranthir’s absolute shit at cavalry.

Thing is, Caranthir’s also good at trade. 

Thargelion is a major trade center. Or it can be. And Maedhros does not want Maglor there for it, not when Maglor’s probably going to sell half their provisions for the finest quality harpstrings the dwarves can produce. 

So Caranthir gets Thargelion, and also gets some peace and distance from the cousins he’s infuriated recently.

Maedhros initially thinks he’ll take Himlad. He’d like to be on the frontlines, yes, but Himlad’s really close to the Girdle and he doesn’t trust either Curufin/Celegorm to not cause some.... diplomatic shenanigans.

And then he realizes that he’d much rather deal with diplomatic shenanigans than Curufin ‘I take calculated risks only’ and Celegorm ‘but BOY am I bad at math’ on the frontlines against the Vala who killed their father

Curufin and Celegorm are, as might be expected, irritated with this protectiveness

Curufin and Celegorm are also, like, happy to be together, yeah, but would like it noted that they’re unhappy that it’s just assumed that they’ll stay together. Just for the record.

On that note, Celegorm claims he’s there to look after Curufin. Curufin, who knows exactly how obsessive Celegorm can get if he doesn’t have someone to tell him to calm down, thinks he’s there to look after Celegorm. Caranthir, who’s got 10% more braincells than his brothers, is disgusted with their codependency.

Caranthir is vaguely insulted that he’s being shuttled off to the literal other end of the continent. What does Maedhros think, that he can’t control himself? It’s only when Maedhros talks to him about the trade routes that Caranthir acquiesces.

The Twins are also quite irritated at the assumption that they can’t handle danger. They want to get the Gap because they’re the horse experts of the family, not Maglor.

Maedhros genuinely bursts into tears when Maglor walks in that night. He tells Maglor that if he doesn’t take the Gap right fucking now he’s going to tie all of them up and install them as courtiers in Fingolfin’s court, damn the idea of having lands of their own. 

This is the first time he cries after his rescue. Maglor’s completely freaked out. He agrees.

It becomes legend: the only people who can get Maedhros Feanorian to cry after Morgoth’s tortures are his six younger brothers.

None of them are completely happy, but Maedhros insists that unhappiness is the sign of a good compromise. Maglor’s glaring at the rest of them hard enough that they don’t dare to complain.

[juliandev0rak]

Willa Clary 🌿

the creative magician with a shadowy past

Introducing…

Full name: Willa Clary

Meaning: 

Willa means “resolute protection” and “will, desire” 

Clary is a family name running back many generations, it originally relates to the word “clerk” or “cleric”

Gender: female, she/ her

Birthday: May 3rd

Age (start of story): 27

Orientation: bisexual

Magic: manipulation, telepathy, animal communication/ zoolingualism, clairvoyance, psychometry, potion making

Occupation: magical apothecary owner, farmer, artist

Familiar: Mira, a field mouse

Love interest: Muriel 

Shippable?: shippable!

Theme song: Thistle & Weeds- Mumford & Sons

full playlist

— ALIGNMENTS —

Zodiac signs: 

Sun: Taurus

Moon: Cancer 

Rising: Pisces

MBTI: ISFP

Element: earth

Major Arcana: Strength

UPRIGHT: strength, courage, persuasion, influence, compassion

REVERSED: inner strength, self-doubt, low energy, raw emotion

Minor Arcana: the Queen of Cups

UPRIGHT:  compassionate, caring, emotionally stable, intuitive, in flow

REVERSED: inner feelings, self-care, self-love, codependency

Magic:

— Telepathy: Willa can communicate her thoughts to others through her mind, and she can hear other’s thoughts in return. However, she can’t read minds and hears only what the other person wishes to communicate to her. This power works best with people she is close to and only within a near range

— Manipulation: Willa is able to force others to follow her commands, only those with strong magical abilities can block or avoid her control. She can either place a thought in someone’s mind or verbally communicate her wishes. This is not a power she chooses to use anymore, but it sometimes occurs accidentally in moments of strong emotion

— Zoolingualism: She can communicate with and understand animals of all kinds, both through verbal and telepathic communication. She has some difficulty understanding aquatic animals, and is best at communicating with animals she has a close bond with

— Clairvoyance and Psychometry: Willa has high sensory perception and is able to detect things about people’s pasts and futures by touching them or through psychometry: touching objects owned by those people. These powers only work with people she is close to, and not with any regularity. She also gets flashes of her own future, but she has no way to divine the past or future on her own— the images come to her as if by chance 

— Potions: She works at an apothecary and makes potions to heal a variety of physical and mental ailments. She grows her own herbs and plants for these potions, and while she is not adept at using her magic to physically heal wounds, her healing potions are renowned for their potency

Other abilities: Willa is an accomplished artist and loves to paint scenes of nature as well as portraits of her loved ones, she also knits and sews and makes most of her own clothing, she can sing well and is an excellent cook, she has a green thumb and enjoys gardening and cultivating plants

— PERSONALITY & PREFERENCES —

Personality: 

Willa is often outgoing and cheerful, and nearly always has a smile on her face. She loves to make new friends and has no trouble interacting with strangers or crowds. She was very shy and withdrawn as a child, but as she grew older Willa grew into her confidence and enjoys being around others. However, she is an introvert at heart and prefers to surround herself with a smaller inner circle and needs frequent alone time to recharge. 

Willa is kind and gentle, seeking to help others whenever she can. She seeks harmony and often finds herself as a peacemaker in times of conflict. Willa cares deeply about those she loves and is loyal nearly to a fault. She can be very stubborn, and when she’s decided on an opinion of someone it is difficult for her to change it. She likes to be right, and she likes doing things her own way. Willa can be a bit particular, but it comes down to her stubborn belief that her way is the best way. She likes to help others, and can sometimes help too much and risk suffocating or being clingy with her loved ones. 

While she has a wide assortment of acquaintances, her inner circle of close friends and family are her focus and she is always willing to drop anything to help them. Though she loves to help others, Willa is very independent and does not like to rely on others. She can be impulsive and loves to try new things, often jumping from one hobby to another without finishing previous projects. Willa can also be a bit impatient, but has learned that good things come to those who wait. 

Mental health: Willa faced traumatic events in her childhood and she suffers from nightmares and occasional panic attacks as a result 

Likes: soft yarn, fresh bread, cold mornings, sunny afternoons, empty canvases, swimming

Dislikes: greed, eating meat, wearing her glasses, shadows

Fears: hurting a loved one, being trapped (physically or emotionally)

Quirks: she nearly always has dirt or paint under her fingernails and on her clothes, she needs glasses to help her with reading but frequently misplaces them and hardly ever wears them 

Favorite food: strawberry scones

Favorite drink: hot cocoa

Favorite flower: daisies

Favorite color: sage green

Most likely to: paint on the walls

— APPEARANCE —

Height: 5′1 / 155 cm

Eyes: very light blue-grey

Hair: light red / strawberry blonde, wavy, shoulder length and usually half pulled back from her face in a bun or a little pony tail 

Other: fair skin with many freckles, lots of calluses on her hands from her work

Color theme: sage green, mustard yellow, brown, cream, pink

Fashion sense: Willa likes to be comfortable and wears mainly knit items she’s made herself. She wears lots of sweaters and skirts as well as floral dresses and occasionally overalls if she's gardening or working. She prefers light, warm toned colors and makes most of her own clothing. Her favorite clothing item is knit socks and she loves to create intricate patterns of flowers or even animals when she knits them. She wears comfortable boots during the day, and has a pair of yellow rubber boots for when she’s out in the garden.

— FAMILY & BACKGROUND —

Family:

Torin Clary - father - alive  | relationship: strained 

Una Clary - mother - alive  | relationship: strained, nearly nonexistent

Finnegan Clary - older brother - alive | relationship: very close

Eoghan Clary - younger brother - alive | relationship: close 

Fiadh Clary - great aunt - alive | relationship: close 

History:

Hidden on the cliffs of the Rosmare sea lies a small village called Armara. Under a near constant deluge of rain, a small community thrives on farming and fishing. Willa’s family has always lived in Armara, and they always will. The family farm goes back through many generations and it has always been expected that Willa will be there to see it through the next. 

Born to Torin and Una Clary, Willa is the middle child of three and the only daughter. When she was little, her older brother Finnegan was her best friend and she spent her days following him around the farm and learning how to take care of the animals. At three years old Willa told her mother that the sheep could talk, and her mother laughed— thinking it was simply childish imagination. But Willa insisted, the sheep really could talk, and so could the cows and the pigs and even the birds who nest in the trees. Her mother often found her talking to the farm animals, seemingly carrying on full conversations. As she got older, her parents tried to break her from this “childish fantasy”, it wasn’t real and there was no place for fantasy in Armara.

When she was six, Willa’s younger brother Eoghan was born. From birth he was perfect, everything their parents had hoped for in a child. He was kind, quiet, and more than content to do farm work and listen to his parents unlike his older siblings. Finnegan had always been a dreamer, never content to stay in one place or live the simple life laid out for him. He spent his time writing poetry and music, and dreaming of going somewhere —anywhere — other than Armara. Willa took after Finnegan, and she spent most of her childhood longing to be somewhere else. 

Willa found this escape in her dreams, which were vivid and even frightening at times. She often had dreams about a city, a place she’d never seen in real life. In her dreams Willa was an adult, grown up and able to do strange things, magical things. She tried to copy the magic when she was awake, lifting leaves without touching them, changing the color of her hair to whatever she wanted, and she found that the powers she had in her dreams were real. Willa showed her parents her newly found powers but instead of being excited, they were terrified. 

Generations before Willa was born, Armara had been a place steeped in magic. People worshiped the old gods, they used magic freely and passed it on to others, they lived at peace with nature and with the spiritual forces of the land around them. But over time the old gods faded away in favor of a new one and magic was branded as witchcraft, wickedness, evil. Those who practiced it weren’t welcome in the village, and by the time Willa was born Armara had become a deeply superstitious place. The name “witch” was given to anyone different, and the only way to thrive in Armara was to fit in. 

So Willa was told to hide her magic, to never show it to anyone and to forget she had ever had it. She spent every Sunday morning at the old stone church with the rest of the village listening to a priest talk about the horrible fate that would befall anyone who chose to practice witchcraft. Aside from attending church, Willa’s parents tried to keep her away from others, always afraid she’d slip up and reveal her powers to someone else.

Inevitably, one of her neighbors spotted Willa practicing magic behind the barn, and the whole village was caught up in the panic. Her parents were told to send her away, out of Armara to somewhere she could be “safe” and learn to repent from her wicked ways. Her parents refused, but Willa was ostracized and forced to stay away from the others. She was no longer allowed to play with any of the other village children lest her evil was contagious. Willa was a witch, and witches didn’t belong in Armara.

Despite her relative isolation, Armara was a beautiful place to grow up. Willa had her animal friends and her brothers, and she made her first real friend when she was 9, a girl named Isolde. Her parents didn’t understand her and the village hated her, but she continued to study her magic in private, learning the bounds of her abilities. She continued to have dreams about the city, and she often asked her parents if she could someday travel to find this city. Every time they forbid her from leaving— Armara was her home, she had a duty to the family and the land. Willa felt trapped, she wasn’t accepted in Armara but she couldn’t leave. 

One night under the light of a full moon, Willa went into the woods after dark, something she had been warned against since childhood. The people of Armara did not believe in the old gods anymore, but they still feared their power which was said to be strongest in the woods. The villagers did not worship the old gods, but that night Willa did. She prayed to the spirits of the wind and the trees, she dipped her toes in the freezing cold stream and prayed to the spirits of water, but no one answered. Finally in desperation she began to pray to the shadows, the very darkness around her, and she got an answer.

“What is it you want?” the shadows asked.

“Nobody ever listens to me!” Willa cried, “I want a way out of here.”

The deal was struck, though Willa did not know then how dearly she would pay for her new found power. When she returned home she found that suddenly, everyone listened to her. She asked for something and found three hands holding it out for her, she told her mother she wanted to go into town and, for once, was allowed to go. Her wish was everyone’s command and at first the power was intoxicating. But one day, she found that the unlimited power she’d been given could have grave consequences.

Willa had an argument with her younger brother Eoghan, a simple sibling squabble over whose turn it was to do a chore. She generally got along with her brothers, they were among the only people in Armara who didn’t look at her in fear or derision, but Eoghan was mad. He called Willa a witch, a term only those who hated her used. Willa was angry and hurt, and when she shouted, “You shut your mouth Eoghan Clary!” she didn’t expect her magic to take over. Willa watched in horror as Eoghan’s mouth snapped shut, his lips pulling together like they’d been sewn closed. She tried everything to fix it, commanding him to open his mouth, telling him to speak, but the magic stuck. 

As the days went by with no change, her family panicked. Eoghan’s mouth was still stuck shut and it was only a matter of time before he died of thirst or hunger. So Willa went back to the woods at night to beg for the shadows help once more. She didn’t want this power anymore, she only wanted her brother.

“What will you give?” the shadows asked.

“Anything.” 

When she returned home Eoghan’s curse had been lifted, but she found her parents even more furious than before. Eoghan had nearly lost his life as a result of her magic, so it was decided that Willa must be sent away. She had wanted out of Armara, but when faced with the prospect of leaving her family behind, Willa was terrified. She begged them to stay, but she had lost her power of manipulation and her parents were resolute. 

The next morning, Willa went to pay her friend Isolde a visit before she left. When she knocked on the door, Isolde’s grandfather opened it, his tear-streaked face shocking Willa. She learned that her friend had died suddenly the night before, healthy and alive one moment and gone the next. Though there was no proof, Willa knew her deal had caused this. A life for a life, Eoghan had been saved in exchange for Isolde’s life. 

The next day, on her 15th birthday, Willa’s parents sent her off to a city called Vesuvia to live with her Great Aunt Fiadh. Fiadh was her grandmother’s sister and many years earlier she’d been sent away by her own family under similar conditions. Witches were not allowed in Armara, but it seems they were welcomed with open arms in Vesuvia. When she arrived in the city, Willa realized that this was the place she’d been dreaming of for so long. She loved Vesuvia, she finally had a chance to practice her magic in a place where people accepted her. 

Willa flourished in the city, though she missed the nature that had surrounded her at home and the family she’d had to leave behind. Away from Armara, she began to heal, and though the guilt of what happened with Isolde didn’t go away, it was easier to deal with in a new place. She met a new friend, a magician named Asra, and began to learn how to control her powers. When the plague came to Vesuvia, she knew she needed to help as many people as she could. Willa still felt as if she had sins to atone for, and she couldn’t ignore the suffering around her even as Asra and her Great Aunt Fiadh begged her to leave the city.

When Willa contracted the plague and passed away, Fiadh ventured back to Armara to share the terrible news. Finnegan travelled back to Vesuvia with her and they held a proper funeral and mourned Willa together. He decided to stay in Vesuvia with his great aunt, and when Willa was miraculously brought back to life, Finnegan was there to help her recover.  

As she got her memories back, Willa remembered the deal she’d made and the terrible price she’d paid to obtain power. She never forgave herself for what happened, and vowed to never use her powers again. But over time, and with the help of her friends and family, Willa began to move on and learn to control her powers again instead of running from them.

Post-canon, Willa still runs the apothecary shop with her Great Aunt Fiadh, but she spends most of her time out at her farm in the forest. She’s done enough world-saving for one lifetime, and enjoys a quiet life of creativity and spending time with her loved ones. Though her life is mostly peaceful, Willa still finds herself wary of the woods at night and she sometimes feels as if the shadows are watching her.

Five facts:

Willa uses her magic to enchant her knitting with protection and warmth charms

she carries her sketchbook with her everywhere and often stops to draw a passing stranger or a pretty flower in inspiration strikes

she’s a vegetarian

she’s left handed, which was seen as a bad omen in her hometown, her mother tried to train her to use her right hand but she refused to change

Willa knits sweaters and hats for the animals she cares for, and she lets them pick out the yarn

notes: my sweet flower gal :’) i love her

thank you as always to @leila-of-ravens​ for the bio template and to all of my lovely mutuals who have loved Willa along with me 💗

[hatercube]

sunnflower hot take >:)

okay, okay so. i know that sunnflower is a rly popular OMORI pairing, and don't get me wrong, i like it, too,,,, HOWEVER. here is a post-good ending headcanon that will smash all of ur sunnflower dreams into a million bits and pieces <3

[edit: just want to let anyone else who sees this post that it is 10000% okay to ship sunflower, and this whole post is purely a headcanon that’s been stewing in my brain since last month, and it is only my interpretation and my opinion !]

TW // suicide, anxiety, mental institutions, childhood trauma

Sunny and Basil *cannot* see each other

i have been up for 24 hours and don't know if anything i'm about to say will make sense, so bear with me. it's not uncommon for people who shared trauma to have intense reactions that manifest in their relationships with each other. some people become hyper-attached to each other after the traumatic event, while some people are the exact opposite, and if these people come into contact with each other, it can be extremely detrimental to their mental healths. the latter is how i see basil and sunny (especially basil).

throughout the game, a lot of their interactions come off as stiff and awkward not only because they haven't spoken in years, but also because basil is too emotionally dysregulated to keep up a conversation. he's stuttering, he's sweating--WE ALL SAW HIM. he is an anxious. wreck, and this anxiety directly stems from mari's death and sunny's presence. especially after kel breaks the news that sunny's moving away, we can see that any major changes sunny makes are going to heavily affect basil on a psychological level. this isn't just a problem with basil clinging to the last bit of familiarity in his life, but it would also affect sunny's personal growth if these patterns were to be perpetuated in any future relationship between the two, platonic or romantic. imagine trying to move on from the most traumatic experience of your life, and an old friend you haven't talked to in years, begs you to stay. it isn't healthy for either of them.

FURTHERMORE, in regards to the secret true ending with the special SunnFlower cutscene, i think that it's okay to say that these two are beginning the healing process and are working towards finding peace in their lives separately. this ending doesn't imply really anything other than a mutual understanding that everything they'd been holding onto for years had finally been released, and that they were now beginning their journey of recovery.

i don't think they talk for a long time after the good ending--i don't think they really want to. for sunny, basil is a painful reminder of not only the death of his sister, but also the incident that landed him in the hospital. you don't just automatically make amends with the person that gouged your eye out during a psychotic episode. i think that sunny understands and forgives, but i do not think he feels safe.

for basil, on the other hand, sunny is a reminder of the terrible thing he did to mari's body and also his abandonment issues he got from his absent parents. in my opinion, being the person who strung up your best friend's dead sister into a tree to make it look like a su*cide is worse than being the one who pushed her down the stairs. you can push someone on accident, but you definitely can't hang someone on accident. i imagine there's a lot of guilt in there mixed with a whole lot of other childhood trauma from his neglectful parents that is a cocktail for mental instability. (also would like to point out that basil having the idea to hang her up in the first place is an early sign of extreme mental illness,, that isn't normal and also hints at some kind of emotional codependency or unhealthy attachment he has to sunny.) the fact that basil was pushed so far that he had a psychotic episode which resulting in him stabbing his friend--which by the way was triggered by sunny's mere presence, not an immediate physical threat of any kind--is so telling of his mental state, and i honestly believe that best thing for him would be hospitalization. for a while. if he cannot be safe to himself and others, then he needs to begin his recovery in a rehabilitation center, and who knows when it would be safe for him to be discharged.

to put that last bit in perspective, i've been hospitalized before due to a pretty half ass attempt that i didn't follow through with because i was drunk out of my mind and that landed me five days. five days, and i didn't even do anything, like no physical harm came to me. also, during my time there, i was really adamant about how i was feeling better and said i had reduced SI which is also how i got out of there in that small amount of time. i have no idea how much time someone like basil would have to spend in an institution, but it would probably be more than a few weeks.

if seeing sunny was the final trigger that led up to basil's psychotic episode, then it is completely possible that seeing sunny would only bring up similar dysregulation problems in the future, even after he's well on his way to full recovery.

SO TL;DR

1. basil stakes his emotions too heavily on sunny,

2. for sunny, basil reminds him of his sister's death and incident that brought him to the hospital, leading him to feel unsafe around basil,

3. for basil, sunny reminds him of the guilt in shame of what he did to mari's body (which i think we can all universally agree is much worse than accidentally pushing her down the stairs),

4. sunny's presence pushed basil to a point where he was not safe to himself or others in an extreme manner that borders homicidal,

5. BASICALLY WHAT IM SAYING IS THAT THEY TRIGGER EACH OTHER AND WOULDN'T BE ABLE TO HANDLE HANGING OUT FOR EXTENDED PERIODS OF TIME BC OF THE PTSD AND POSSIBLE PSYCHOSIS

so yeah. there it is. if you made it this far, im so sorry.

[tintentrinkerin]

Cathartic Arrest

Rating: Mature

Relationships: Dean Winchester & Sam Winchester

Characters: Michael (Supernatural), Minor Characters

Additional Tags: Post-Hell Dean Winchester, Post-Lucifer’s Cage Sam Winchester, Dubious Consent, Caning, Codependent Winchesters (Supernatural), It’s all about inflicting and receiving punishment, Jealousy

Summary: ”Sam needs to cope with memories of Lucifer’s abuse. Dean is still trying to cope with this time as torture Master in Hell.

And he’s JEALOUS.”

Word Count 1,793

READ HERE OR ON AO3

Sam was still shaking when he got back to the bunker. He had taken his time before he came back home, but still. This time, it had all been different. She had to help him back into his pants, his shirt, even tuck his shirt in, help him ground himself; when he still didn’t come down from what just happened, she made him sit in her “calm room” as she called it. 

She gave him food, good food. Fruits. Pineapple, strawberries, vanilla infused yoghurt. Juices of passion fruit and apples, bread with butter and some lean chicken tenders. He could choose whatever music he wanted, but all he ever would choose was hard rock – the music of his childhood, part of his youth and part of Dean. The music in his ears, usually is of a different, much more intense nature. He’d tried pop. One Direction. Too happy. He’d tried Nu Metal. He was too old to bounce back into his emo stage, also known as his years at Stanford. He had tried all kinds of metal. Trash, Death, Melodic, Symphonic. Nightwish. Later Aesthetic Perfection. All good music, quality wise. But nothing was ever louder than the noises in his head. The crying of baby Sam Winchester, inner-child Sam Winchester. Traumatized and angry and helpless. 

Only the noise of a cane meeting his skin, his ass, his legs, even his feet, his own painful cries, the muffled grunts, the thank you’s and the yes'es, the reenactment of his shame, would silence the child. It’d been rough today. The wax on his chest left pink swollen spots, the cane beat him bloody this time.

“I can stop, aye?” she said. 

“No, Mistress. Don’t. I want it to bleed.”

She’s not his Domme and he’s not her slave. He isn’t that twisted in his mind to reenact the power exchange, his own powerlessness. Michael watching. Michael. That god forsaken coward.

Sam was still shaking when he started Baby’s engine, slowly rolling away from the place he visits when pressing on his scar stops working. And it’s been working less and less and less. Until nothing else will help but being beaten up by someone to finally overcome the pain, the helplessness, the feeling of being weak and useless. Sam Winchester might be broken, but he still can take a beating without crying.

Dean hates liars. Which is kind of, let’s say  hypocritical, given his nature, his past. He lied to Sam about hell, he lied about the deal, he constantly lies to the only person who will probably never leave him. Because even if Sam does leave, he always comes back. He won’t even die for good. Dean doesn’t, Sam doesn’t. They’re here, two moons in this earth’s gravitational pull, doomed to circle each other; the forces of nature keeping them in place but always keeping them apart. 

It's one of those days when Sam says he’s about to go jogging, but since when does he have to drive fifty miles to some secluded forest area to jog when they're in the literal middle of nowhere? Dean has seen Sam in the showers. They have their privacy here, both want that or pretend to, but the showers are group showers, long lines of shower heads like in school gyms. They usually lock the doors, so why, this one time, does Sam not lock himself up like he used to? Dean knows about the nightmares, the triggers, the sudden flashbacks and the pressing of Sam’s thumb against the palm of his cut hand. He noticed cuts, deep cuts around Sam’s wrists, that never heal because he keeps on scratching off the scab. The bleeding never stops. 

Dean decides that today, enough is enough. He knows this trauma, he was in Hell too. He tortured innocent people, he tortured Bela fucking Talbot. A woman he really respected in the end, though he sugar coated it with cunt-y behaviour. He’s seen so many faces twisted in pain and agony – and all they do in the end? – cry for mama. They cry for their fucking mother, and Sam? Dean wonders who he cried for in the Cage?

Sam is packed up in his “jogging outfit” and he’s about to leave, when Dean gets up from his armchair in the library.

“Where ya goin’, Sammy?”

He jumps.

“Jesus, don’t scare me, man. Really? I’m going jogging.”

“There’s a whole ass forest in front of the batcave, Sam. Why not go there?”

Sam looks down and Dean knows, he’s angry. He’s angry because Dean caught him in his damn lie and there’s no good way out of it.

“I have a jogging buddy over there,” Sam clears his throat, his whole body is tense. Ready to run. Wherever.

“Ah, jogging buddy, I see. Lemme guess, their name is Mistress Lana and he looks bomb in tracksuits.”

Sam is about to erupt and he grows, his posture straightens and he yells. “This is private Dean, you have no, absolutely NO right to spy after me like a--”

“Like a what?”

“Like a fucking jealous wife who caught me in an affair?”

Dean falls silent, but his body, pure, condensed power, anger, fear, slams his arm against Sam’s throat and presses him to the wall. 

“It is exactly like that. You drive an hour to see a dominatrix, to what? You become a subby bootlicker all of a sudden? You like that?”

Sam’s nostrils flare and damn, now Dean is on freakin’ thin ice. He is so goddamn jealous of this woman giving Sam something that Dean would give him freely. And happily. He would give him the relief he needs. 

“Don’t talk like that!” Sam hisses, trying to wind himself out of Dean’s grip but he’s still sore from the last time Lana tied him up like a Christmas present and hung him on the wall like a pig-half at the butcher’s. Sam loved the marks of the rough rope, loved the feeling of just hanging there, floating, the ground beneath him so far away, the rock bottom so far…“You have no idea how I feel!”

Dean’s head tilts to the side. “I tortured people in Hell, Sam. I know how to make you feel the worst pain of your life – but I can also give you the greatest relief. I can show you mercy, because that’s what you really want. Isn’t it?”

Sam finally breaks free and attacks Dean, one hit after another, breaks Dean’s nose, gives him a black eye, and it only stops when Dean lands a blow right over Sam’s kidney – he staggers back. 

“I deserve the pain,” Sam wheezes. “I don’t rely on anyone’s mercy.”

Dean drags him up and brings Sam, who is suddenly so pliant, to his room. What no one has ever known about is the secret door. Dean’s not a witch, Sam would be a great one, but Dean managed to hide a tiny little torture chamber behind his room. Sam fights,  he insults Dean. Dean knows, yes he knows, it’s Sam’s way of provoking him and, kind of, making Dean stop. 

Sam knows that, when he came back from Hell, Dean fucked around even more than before he’d died –but no one ever saw him with the girls, the submissive ones, the broken little dolls he found. This is Deam’s coping. Reenacting Hell.

Sam clings on to Dean when he’s tied to the bench, naked. Sam is still black and blue, some of his bruises had turned green-yellowish already but no one should hurt him there again. These bruises would take ages to heal, if they’re lucky, without a doctor needed. Sam isn’t fighting anymore, he’s crying.

“Please Dean, take it off of me. Please… I can’t… Take it OFF!”

“I can’t”, Dean says, gently, brushing away Sam’s tears.“Does she fuck you?”

A gasp. “What? Why--?”

“Simple question, Sammy. Does. She. Fuck you?”

Sam nods, hiding his face in his hair and pressing his forehead against the padding.

“I can’t spank you in this condition. You have to heal. Why would you go to that woman when you’re still so roughed up?”

“Why do you care?”Sam’s voice is so thin. Little, scared Sammy, and there was no one in the Cage to save him from what happened. 

“Sammy.” Is all Dean says.

“My Sammy.”

Dean is not like that. He loves Sammy, and he would do a lot, but he won’t do That.

Dean’s favorite is his cane. Rattan. Unpeeled. Sam endures several hard blows, in a staccato, a rhythm other people would faint from. But Sammy is strong, and he wants to be broken.

HE

WANTS

TO 

BE

BROKEN

And Dean is giving him that. He can think of the girls and boys in Hell while doing it, like he’s not the one inflicting this pain on Sam, but it feels so damn good. Purging. Sam’s cries and whimpers, his yells and finally, finally, when Dean is about to lose control and maul Sam alive – there’s the one Sammy would cry for.

“Dean.”

A gasp. The blows stop. Blood dripping down Sam’s legs. 

“Dean.”

Again.

“Sammy..”

So gentle. So tender. So silent. 

“Dean, I want to go home….” and that is truly when Sam is broken, the last bastion of his mind, his pride, his goddamn pride is stripped from him. He babbles, he cries, snot and tears and gulps, he even chokes on his cries. “I want to be home with Dean, please hold me, Dean, take me home, Dean…”

Dean dissolves. His own trauma resolves for a minute. He knows, it will never fully go away, he will never heal. But.

“Sammy. I’m here, Sammy. Come here. I’ll take you home, my baby brother. I’m here.”

“Dean, I love you”, Sam chokes out. It could be anything. It could be nothing.

“Sammy, I love you more.”

Dean leans onto Sam’s heaving, still tied up body, sweat and blood, tears, the sobs. When Dean releases Sam from the restraints and carries him to a sofa, he huddles up in Dean's lap. Like a newborn. Overwhelmed with the world outside, sobbing and crying for Dean. Dean is here, holding him tight. Offering him water and more blankets.

Lucifer has never been closer, but Dean has blown him away from Sam. He made Sam just forget for a while. It’s so fucked up, but he can live with fucked up. As long as it’s with Sam and Sam never, fucking never, goes to a whore again when he can have everything from Dean.

Dean will do anything for Sam. 

“Dean…”

“I’m here. You’re home.”

»And I will never let you go.«

@laxe-chester67 @deanking @vulgar-library @writethelifeyouwant @itsabookishblog @schaefchenherde @sacrificialtendencies @cloudesworld @all-4-wincest @ohnoitsthebat @rpsocsandcanonohmy @stemroses @nightmarecait @lostmykiliel @alexa-alcantara @wincestismyheart @closetedshippers @dragonardhill @alex-is-a-gay-human

IF YOU WANT TO BE INCLUDED IN MY MAILING LISTS, SHOOT ME A MESSAGE <3

[thegeminisage]

hi, sorry for answering you both so late, i am putting your answers together since they are sort of related!

the short answer is, i can’t write a “real” sequel to broken road but the third part of the triptych would be the indirect dean/cas spiritual sequel, except with way more porn. the long answer is:

i just don't think i could write a true direct sequel to broken road set in that same continuity because i don't have anything left to say about john and how he gets along in the real with his family world now that he’s stuck there and they’re all stuck with each other. my main three points of interest that i felt were left unresolved would be the continuation of dean and cas's relationship (more on this in a sec), sam and eileen (ditto), and figuring out if john and mary ever made it work or called it quits for good. so if i wrote a sequel to broken road it would just be a bunch of john/mary stuff that i feel underqualified for because it WOULD involve their sex life and i DO NOT want to write john having sex. them fucking offscreen in broken road was as close as i'm ever getting and even that was weird. and then somehow i’d also have to work sam and eileen into that and it’s not at all related. it would take two fics and i don’t even want to write one. also, i really kind of want to leave the question of john and mary open anyway - i have my own thoughts about how things ultimately end up but i prefer to let the reader imagine what ending they like best, since people have such strong feelings about it. i know that's a little bit of a cop-out and i'm sorry! but it feels beyond the scope of that fic and also a little beyond my scope and area of interest as a writer.

if it helps you any, i imagine going forward their dynamic is a lot like it is in the epilogue, which is part of why i made the epilogue so long, was to give you a good idea of what life is like for them now. but here’s what i imagine might go down after the final curtain call (this is LONG, skip to the section labeled “dean” for the triptych answer):

john & mary: 

john continues to suffer and bite his tongue and probably do a lot of complaining and DEFINITELY do a lot of avoiding being alone with dean or cas or dean-and-cas. john was expecting to retire after yellow eyes died so he really wouldn't know what to do with a family that still hunts for "no reason" and i imagine he'd be pretty pissed that they still hunt at all. i expect he and sam would butt heads over that

mary would probably keep attempting to be supportive and keep being bad at it, and spend a lot of time trying to put a brave face on it while secretly dying inside, because she's constantly at war with herself. here she has john back, but not the john she remembers, and spending time with him is difficult because she wants to let herself have him and take comfort in him and also she doesn't want to be anywhere near him because he abused their kids

eventually mary or john or both would have to leave, though mary would come back - in canon she's in and out a lot anyway, she stays for awhile and visits regularly for game nights. i think john would miss the first game night, get one "seriously?" text from mary, and then show back up every week that he possibly could but also not visit unless it would make things worse if he didn't. i don't think he particularly enjoys spending time with his family for a long time, if ever, because much like season 12 mary he came back to a family he barely knew or recognized (and because of what he knows now spending time with dean would be particularly awkward). HIS sons would be getting married to women and retiring and having biological children. this gay adoptive whatever the fuck makes them feel like they are not his sons. 

anyway, i imagine john and mary would do much better when running into one another outside of the bunker, on their own separate hunts. they might even take one or two together. there’s probably some very guilty sex in their future at some point because mary is real fucked up. john post broken road does a lot of shutting up but i think around mary he would be the most like his old self. they do this will they/won't they dance for the next decade at least before finally making up their minds one way or the other. i do think they all still go on hunts together sometimes, maybe even with the apocalypse world hunters, and since that's sam's deal john is probably kind of quiet and falls in line and does what's needed without chatting much to anyone. i bet the first few times people don't even realize he's sam's father because he's so quiet. it's his way of trying to apologize to sam and also if he steps out of line when sam is in charge sam would <3 deck him. yes. but yeah i see it being very brisk and professional and awkward, until they all get used to each other again

sam: 

as i said earlier the only thing i didn't fix in broken road was eileen, so at some point sam would figure out a way to get her back - since in this verse jack never becomes soulless and chuck never returns and we never get season 15 it's possible she shows back up because she didn't go with her reaper, or because someone fucked up a summoning spell, or sam realized she was in hell and decided to spring her, or she just crawled out on her own like a badass. i think it would be kind of funny if john was involved with her resurrection but maybe accidentally somehow, so it's not like oh sam learns to forgive his dad because john did this really nice thing for him it's more like UGH why did it have to be YOU why are YOU involved in this important thing that has nothing to do with you slkdjfghl but also if you hadn't done it she'd still be down there or something, so, it cancels out. or idk maybe john had to work hard at it or give something up to make it happen. he has to genuinely shut up and be selfless and not fucking complain and feel sorry for himself the entire time, that might be fun too. either way sam would not thank him

(though i do think sam deserves space to explore the fact that he loves john even still, even despite the fact that he also hates him/is very angry with him and always will be. i don’t imagine sam and john ever fully reconcile but i imagine john behaving BECAUSE OF SAM SPECIFICALLY offers sam more catharsis than he thought possible.) 

anyway, john would be so relieved to see sam with a woman even if she is a deaf hunter but then it turns out she hates him like sam does so like. sucks to be him! meanwhile sam and eileen get to catch up and he finally has a willing ear (so to speak) that isn’t cas or mary to talk to about this stuff and of course SHE has someone who very much understands what it’s like to come back from hell. part of what i really love about sam and eileen is the way they sort of instantly and intrinsically recognized and understood one another, even across something that resembles a language barrier, and this hypothetical future would be no exception. there’s no way they don’t get engaged inside a year, and much like in the 15.18 fixit they’d sometimes hang at the bunker and sometimes not. i imagine with the apocalypse world hunters going in and out though it’s never exactly empty or lonely there. 

whether or not their family unit ever retires and/or moves out of the bunker in this verse is sort of beyond me because my feelings on it change daily but you can imagine whatever you like! however i am adamant that the furthest away from each other sam and dean will ever get permanent-living-situation-wise is next door/across-the-street neighbors. their weird little codependency is part of what i like about them and i have a Whole Thing about not “gentrifying” dean. but for the most part sam would be very much doing his own thing which involves john very little, and healing from his own damage with people OUTSIDE of his blood relatives which he very much deserves. and he has moved so completely past the need to care about john that like john is a backdrop in his life, albeit one with baggage. but mostly he becomes someone to keep an eye on in case he makes trouble, no different than a hundred other surly hunters sam’s known. and he can still be there for dean without his life revolving around dean because now dean has other people there for him too. (i ALSO have a whole thing about sam being in the life for dean specifically, that he’s giving up some or all of adulthood for dean because dean gave up childhood for him - kind of the way someone takes care of their kickass single mom in old age. it’s a guilt/love/debt/devotion sort of thing.) 

and speaking of the Eventual future, if babies ever come into this picture (sam and eileen’s, to be clear, dean and cas are probably satisfied with jack, NOT THAT JACK ISN’T ALSO SAM’S CHILD) john is allowed to see them but never unsupervised. i’m picturing like sam and eileen both on their third day of no sleep and sam lets john change a diaper because he’s exhausted and john considers that the best their relationship has been since sam was 6. mary always wanted to raise babies and sam likes her better so she’d get to pitch in with much more enthusiasm (and aw they’d finally get to bond a little more), and dean has raised a baby already so he’d probably try to like help and get waved away a lot like no no raising other peoples babies is no longer your job it’s ok. there is eventually a fight about this

cas & jack: 

castiel lives a great life caring for his newly re-graced son and staring at john when he enters or leaves rooms, and i imagine eventually jack gives him his wings back, since he can do whatever the fuck he wants (i'm not giving jack his own section but he also probably keeps acknowledging dean and cas are a couple like out loud which would be fine except for dean is still half in the closet like a skittish traumatized cat so eventually cas would have to explain very gently that nobody was supposed to know that yet and jack should cool it to give dean time to adjust)

anyway i DON’T believe in human cas, i believe he likes being an angel, so he just gets to stay an angel forever and now he has wings too <3 and he can teleport which spooks john in the exact same manner it used to spook dean in s4 <3 except this time cas is being <3 malicious on purpose <3

cas fully won here because like john does NOT want to speak to or acknowledge him much less be in the same room as him so they tend to have a dynamic where like all 6 of them are in the room and cas dean sam mary and jack all talk to each other and john dean sam mary and jack all talk to each other but cas and john do not talk to each other. cas doesn’t have to threaten him or glare at him constantly anymore like all he has to do is look at him. and john is like. man what’s he gonna do. that guy is having sex with your son and there’s nothing you can do about it! so dean doesnt have to be like ok cool it cas anymore because cas has literally won in every possible way. i think at most it’s very much cas being like “if i were trying to kill you, you’d know it <3″ and john can’t return those vibes to sender because then dean would be like ok cool it at his DAD instead. it used to be cas don’t piss off dad and now it’s dad don’t piss off cas. anyway i think that since cas has let dean lean on him so much it would be nice if he could lean on dean a little. again more on that in a minute

dean: 

and finally, as for dean...i think he needs a year minimum to dean with people acknowledging he and cas are a couple and another 3 for it not to be weird to say cas’s name in front of his dad. absolutely zero pda in front of john ever but he might like eventually get to the place where he and cas can lounge around together on the couch while they watch movies with the rest of fam and it’s not a big deal. sneak an arm around him at a movie theater. kind of the same vibes as the 15.18 fixit but with less anxiety. because like the worst possible thing (getting outed to everyone) has already happened and aside from the outing itself being completely horrible nothing that terrible even came to pass as a result, so he’s just Adjusting. i think he sort of has to unlearn and relearn his habits - his mediator thing, his defending dad thing. i think there’s a lot of times where he just walks out of a room when shit is too much for him to deal with because he has let go of some of the need to constantly micromanage his family’s interactions to make sure they don’t boil over. michael already took that scenario to the max and mary already dumped john so there’s really not much left to be afraid of. i think he gets told “that’s not your job” a lot and maybe listens more than he used to. and to bring us around to the second question...

i also think dean would get weirdly hung up on the fact that he and cas’s sex life is Not Normal - as in, they fooled around a little and that was it. i think dean would have a huge problem with that. like, obviously he has A Few Hangups About Gay Sex given his history but if you’re a couple you’re supposed to bang on the regular and it’s totally homophobic if he doesn’t bang cas as much as he’d bang a lady he was committed to, right? he’s not gonna give cas less than he gave cassie or lisa, that’s not fair to his best buddy and number one pal! 

meanwhile castiel, known asexual, is utterly and wildly neutral to the whole idea except that it’s a way to be close to dean. cas would be just as happy fucking like champions for a six-hour marathon or spending that same six hours curled up in bed together while he plays with dean’s hair. like, same diff. you know that thing about like “cas thinks everything is important he gives the same gravitas to the apocalypse and a nine year old’s birthday party”? like it’s exactly like that with sex and cuddling and sharing a meal together and driving together and watching dumb movies like it’s all time spent With Dean so it all matters just as much.

so we have this conflict where dean is tearing himself apart over the fact that he’s taking a normal human amount of time to “work up” to the whole thing and cas is like. but it’s fine. it’s literally fine. and dean’s reaction to this would be something very offended like hello excuse me i am super hot and fuckable and you don’t WANT me?

if this all sounds familiar that’s because i’ve written similar stuff to it before! if you go to the fic page for broken road, you'll see it's part of a series now (the "triptych"), with my dumb little 15.18 fixit as the prequel. even though continuity-wise these are two totally separate fics i feel very strongly that that fic is the spiritual prequel to broken road, and eventually, a long time from now, after the next @cambionverse​ fic is done or at the very least well underway, i'd like to write a spiritual sequel. a triptych is three works that stand on their own but also make a more complete whole, so even though these three stories would not be related at all in continuity of where they take place in canon, they each set the stage at a different part of the dean/cas relationship. so fic #1, the get-together, had no sex at all, and it was very short. fic #2, pre-established but just barely, had a little sex in it and it was very long. fic #3 then would be pre-established but like VERY pre-established and have a fuckton of sex in it, and be medium length. i’m ha ha basically writing my own nc-17 porn coda since SOMEBODY won’t do it for me (if you got that joke you’re entitled to financial compensation). 

except i actually really do want to tackle this subject myself, it’s stuff i only got to touch on in the other fics because it felt off topic, so in this fic it WOULD be the topic! i really found a groove i like with cas who has almost no trauma around sex but doesn’t care whether or not he has it vs dean who really really wants to have sex but has a minefield of past bad experiences he has to watch out for. and i like writing porn anyway and i didn’t get to write very much these past two fics. i’ve always said that i think dean would snowball (not like that, gross) - it’d take him FOREVER (literally a decade plus) to work up to kissing cas but a fraction of that time to start fooling around with him and a fraction of THAT time to blow him etc etc. the more he does the easier it gets. i feel like it’d be a lot of fun to write. 

so, this third fic would not be an official broken road sequel, because there’s almost no plot outside of the porn to speak of anyway, but if what you wanted was to see how the dean/cas went from where it left off, hopefully that will be satisfying in that regard.

i should say, while the third fic would be almost exclusively porn there is one plot element involving ********** that i am not going to talk about on tumblr because it would ruin the surprise. i have told a few people privately and i will tell you if we know each other pretty well but if you know (or guess) don’t tell anyone! 

see, the other thing i would want to tackle in that fic is how cas has his own traumas and baggage, even if they’re a little different from dean’s, and i think dean sometimes gets so deep in his own stuff he kind of...not forgets that exactly but forgets how profoundly it still affects cas, because by and large cas deals with that sort of thing a lot more quietly and in much healthier ways than dean does. not that his self-sacrificing ass is the poster child for mental health, but for example cas recognized suicidal ideation in himself and actively worked to keep himself away from situations that would make it worse. he translates his bad feelings into meaningful action (well, he attempts to, even if it usually goes wrong). so he hurts kind of quietly and in late season especially most of the worst moments of his life are behind him (barring jack’s death, which doesn’t happen in this verse). so he’s also further along in his healing process which mean dean kind of forgets how fucked in the head he can be. and in the uh...unusual situation...they find themselves in because of this minor plot, it becomes something that he can’t not notice, that they can’t just not talk about, and cas gets to lean on dean a little, they sort of get to know each other better. so that’s part of the point of that one little plot element. but the rest of it really is porn.

i haven’t started work on the third fic yet - i don’t have a title and my outline is just a bunch of choppy ideas and i have about 2000 words of the middle of the fic jotted down out of context. (it was originally going to be a shorter unrelated thing before i realized how well it tied to what i already had.) i have another obligation to see to before i can get started on it (again, @cambionverse​, you should read it if you havent, the concept might sound unappealing but almost everyone who tries it likes it and it’s way better than broken road). so it’ll probably happen a very VERY long time from now! but it IS happening. >:) i just hope after the first two fics in the triptych were so well received that it doesn’t disappoint 🥺

[aroarolibrary]

Oh man so, first off: congrats to angel/dean shippers on getting your canon thing in spanish but secondly:

Man this whole thing that’s been happening with this show over the last few weeks has 100% reminded me that this show and Sherlock were the two fandoms that made be super romance repulsed because of all the internalized self-hate and trauma they caused me. Like. I was romance repulsed before but those fandoms?? Jacked it up to 100% for years in which I couldn’t interact with any romantic stories or fandoms at all.

Story time!!!

Tw for: self harm, self hatred, hypersexuality, mental health issues, child neglect.

So imagine you are me: a young person who has just graduated high school and, very suddently, went from being “single mother of your little sister” who you had essentially raised on your own for the last four years when she was 5 to 9 yo to “every day college kid that sees their sibling that they raised for the last four years maybe once a month.

Also imagine that, out of all of your high school friends, none of them are attending the same university as you and so. Well.

You’re feeling pretty lonely and depressed.

Now also imagine: you didn’t really have a chance to consume media I HS because: parent. In fact 90% of what you watched was kids cartoons for your sibling +bonus Inuyasha at 3am as a...Uh....treat.....(that’s the kind way of saying ‘setting an alarm at 3am to check to make sure the parents actually got home from wherever TF they vanished to nearly every night).

But hey! You are free now and can watch/read what you want between classes! Only, well, where to start? You go to a book store and find a Sherlock Holmes book and think “okay ya I’ve always wanted to read these!” And proceed to consume them in one week flat.

They are amazing. The relationship between Sherlock and John reminds you of your and one of your best friends/honorary cousins that you haven’t seen in a while and it brings you comfort to read, but now you are out of stories so, you do what any person this day in ages does: you find fanfiction. Now, Sherlock wasn’t a thing at this point and so nearly all the fanfics were based on the books and, of those, 80-85% you gen. No romance at all. Just relaxing stories about friends and solving mysteries.

Then Sherlock happens and, don’t get me wrong, I was definitely a fan when the show started, but suddenly fanfiction was no longer mostly gen, it was shifting, becoming more and more shipping and romance related and it became harder and harder to find non-romantic stories.

Then a person I was living with suggested supernatural. “It’s a story about brothers and it focuses on them.” They said “very little romance. You would probably like it.”

And so I watched it and, they were right, I did. And ya, that one wasn’t exactly like the early Sherlock Holmes fandom, it had a lot of shipping from the get go, but I could also really easily find gen fics that focused on siblings and familial relationships and ignore the rest since there was a pretty even 50/50 split with a slight favor on the gen side.

(Keep in mind there is a LOT of other irl trauma going on in the BG of this story which I know I’ve talked about before. A lot of which is also feeding into the romance repulsion and my avoidance of romance in fandom spaces along with my “blossoming” hypersexuality)

Anyway, the familial relationship in spn was a comfort. At the point I moved from Sherlock to SPN I was in my second year on university and was doing a bit better mentally (in the “sadness” front at least) but I was still missing seeing my sister a lot and so SPN was a comfort in that sense. It was something to relax with that didn’t have romance or anything of the sort that, at that point, was only driving me further and further into hypersexuality (I was dating my first ‘official’ partner at that point and, while I can recognize it now looking back, romance in shows and movies made me feel inadequate as a partner. Like I was failing and not doing enough. Was not romantic enough. Was not showing affection enough. But physically I also couldn’t bring myself to do those things either. What I could do was sex. And, well, when that’s all you have to offer...)

ANYWAY: spn was the one show I knew of on TV that was low to no romance and that the fandom was also decently low on romance, instead focusing mostly on family and the brothers.

Cut forward a few years, I’m back into a depression, I’ve failed at a relationship again because all I can offer is sex and that’s really not enough for people that are looking for actual romance and:

And supernatural introduces an angel character to the show. It’s interesting but I’m pretty depressed and not really all that interested in the show anyway at this point-

But then the fandom happens and it’s like a flood. The romance pours in from all corners along with the absolute hate for anyone that doesn’t see anything romantic happening. It’s like watching a wild fire go through a fandom, what was once a fandom that mostly was just about siblings all of a sudden became all about this angel character and Dean. So much so that it over shadowed everything and any attempt to just enjoy the show as a gen thing or as a family-centric show became impossible.

It was also around this point that a lot of...idk what to call it really because it wasn’t exactly hate, it was like a “this is the only way to read/be in this fandom and if you aren’t we are going to harass you non-stop until you see things our way”. If you couldn’t see the romance between these two characters it was because you were homophobic. If you preferred gen it was because you were homophobic. If you focused on just the brothers and their relationship it was because you were homophobic. If you couldn’t see that Dean was better off in a romantic relationship then with his brother who he had an ‘unhealthy’ relationship with then you were homophobic.

(Keep in mind at this point I was out as bisexual and had attempted to date a woman at this point. I say attempted because, well, again: aromantic even if I didn’t know it then)

It was intense and, from the POV of an aromantic person struggling with being unable to understand even basic romance: it was traumatizing.

I tried to see it, to understand what these shippers were seeing that I couldn’t. Yes, I could see how Sam and Dean’s relationship could be viewed as unhealthy, but as someone who had lived a similar life to theirs as a kid, and to suddenly be bombarded with this idea that the “healthy” way to cope with that is a “romantic relationship” it was a lot. And by a lot I mean a death spiral.

There was...a lot of one night stands and sex and half-attempted relationships after that, in that desperate attempt to understand. There was also panic, nausea, fear that my own relationship with my sister was unhealthy. Was causing both of us harm. That the only way I could keep from hurting her further was to find a “healthy” romantic relationship instead because siblings aren’t meant to be close, not even those where one raised the other alone for years on end.

I had no context outside of fandom about what a healthy sibling relationship looked like and, hell, most TV shows at the time painted sibling relationships as antagonist 90% of the time and with them only interacting when necessary. My parents both had siblings but my dad talked to his maybe once a month and my mom faught with Hers a lot. I had never faught with my sister. We got along perfectly, mostly because from the ages on 13 - 18 I lived for her alone and so I was used to putting her first no matter what.

But this fandom, that had been a comfort for me for a while, suddenly said that was wrong. That instead romance was the way to go and I...

Well. I am conscious of myself enough now to know that I was purposely hurting myself. A lot. Punishing myself over and over and over again, not just because I couldn’t figure out how to “feel” romance like I was supposed to do but also because I was a terrible sibling. Because I had failed my sister some how and had ended up in an “unhealthy codependent” relationship with her since, if Sam and Dean’s relationship was like that according to fans, then obviously so was ours.

(God and don’t get me started on the spiral that the new Inuyasha Sequel put me into a few months ago. I’m STILL not out of that spiral yet. These last few months have not been good for the “romance isn’t important/is unnecessary” front)

I would like to say that I soon realized how terrible the fandom was for my mental health and that it was causing me to harm myself but that isn’t how this story ends. How it ends is that I Eventually I ended up not being able to watch SPN any more. Every episode was just another dagger in my side. Another failure to press my face into. Another series of interactions where I couldn’t see. Couldn’t understand. Another episode that would let to another desperate one night stand/attempt at understanding how this was better. Healthier. How this was how things were supposed to be. Another night of not talking to my family or friend and another few days of not talking to my sister because talking to her too much was wrong.

So ya. This story doesn’t end nicely. It just slowly fades to black. To a point where I hate myself so much that I can’t bring myself to interact with the fandom or internet at all. Where everything just kind of...goes away and vanished but where the trauma still exists. Where stories that start out about family and, suddenly, introduce love interests leave me nauseous and choked. Where my romance repulsion gets so strong that I can’t sleep because I just keep remembering my failures. The fact that it’s not healthy to focus or care about your family. That there must be romance. There must There must there must. Because with out it all other relationships are bad/wrong/unhealthy and you are bad/wrong/unhealthy for only having those.

Just the endless mantra. All night long.

Bad.

Wrong.

Unhealthy.

Bad.

Wrong.

Unhealthy.

Bad

Wrong.

Unhealthy.

Over and over and over again.

[holdthosebees]

Reasons: A Study

So. I want to talk about anchors, and parallels, and That Line from mag 167. 

MARTIN: So, when you say Gertrude wouldn’t have been able to go on without a reason-- JON: Yes, Martin, you are my reason. 

First, while we’re all melting down about the adorable queerness of this exchange, I want to nail down exactly what they mean. 

On one level, it’s a declaration of romantic devotion. It seems pretty clear also that what Jon is alluding to is that, without Martin, he wouldn’t be going to the panopticon; he wouldn’t be trying to fix the world at all. Instead, he would be “resigning” himself to “ruling [his] domain,” which is a fancy and way of saying ‘going full Beholding, turning full monster, and spending the apocalypse siphoning the suffering out of his victims. In short: having Martin around, having someone prompting him keep moving in a semi-linear fashion towards a concrete goal, and having a relationship he cares about protecting is what’s keeping him human. Or, as close to human as he can get, anyway. This is... complicated. There are people who are reading it as super romantic, and I get that! I don’t in any way want to say that they’re wrong, and this post isn’t about how Jon and Martin’s relationship is secretly Bad and Doomed or whatever. But TMA has consistently shown itself to be a show willing to dive into the messy bits of relationships between traumatized people, and ‘this one person is the only thing keeping me from spiraling into monster hood’ is definitely messy. 

There are a few parallels that immediately spring to mind, and I’d like to go through them one by one.  First: the obvious parallel, and the one that most people are drawing, is to Martin’s line in 158:

[MARTIN]: And then Jon came back, and suddenly I had a reason...

This is a line I see quoted out of context a lot, in the ‘tumblr likes to take bits of text and mash them together to make moodboards’ way. Often, in more Jon/Martin-y contexts, the sentiment behind it is filled in based on the line that came before it: “Maybe I just thought joining up with you would be a good way to get killed.” The implication drawn, then, is that Martin is saying that Jon coming back gave him a reason to live.  That is, however, not actually what he’s saying! This quote is actually rarely quoted in its entirety; what Martin actually says, specifically, is

[MARTIN]: And then Jon came back, and suddenly I had a reason to keep your attention on me. Make you feel in control so you didn’t take it out on him. And if that meant drifting further away, so what? I’d already grieved for him. And if it meant now saving him, it was worth it.

By drifting further away, he doesn’t just mean from Jon--he’s talking about his choice to keep working with Peter, to keep pushing himself into the Lonely. Jon coming back, in context, didn’t so much give him a reason to live as it did give him a reason to sacrifice himself. He was still aware that he was losing himself, and might wind up dying; Jon being around just made that feel meaningful.

This, I feel it should be noted, is exactly what Elias was counting on. Martin made the choice to continue on his own, to try to jump on the grenade without telling anyone that it was there, and this turned out to be a huge mistake. It was one heavily influenced by grief, by trauma, and by the impact the Lonely had already had on his mind. 

It was also the exact opposite of what Jon’s saying now--except for the ways in which it isn’t. They both cite one another as their reason for working towards a goal that they know might be impossible, because the act of protecting each other gives meaning to a potentially meaningless existence. For Martin, though, that meant courting avatar-dom, while Jon is trying to push it away. For Martin, this singleminded devotion turned out to be unhealthy; his prioritization of what he thought Jon needed from him over his own wellbeing wound up causing both him and Jon a lot of grief. And as for Jon...

Well. We don’t know yet. Jon and Martin are alone together in a horrific apocalypse landscape, so singleminded devotion is kind of par for the course. Martin is literally the only good thing Jon has left in the world, so I’m not going to say that he’s wrong for using Martin as a grounding point. And we know, from previous seasons, that focusing on building positive, trusting relationships is one of the things most effective in maintaining humanity! 

At the same time, though, there’s another parallel I’d like to talk about--and that’s the parallel between Jon and Martin’s relationship and Daisy and Basira’s.  The first thing that “you are my reason” pinged for me, right off the bat, was the memory of Elias calling Basira Daisy’s last tether to humanity in season 3. Their relationship for the latter half of season 3 mirrored Jon and Martin’s season 5 relationship in a number of ways; mainly, the more monstrous partner (Daisy, Jon) who’s thrust into the thick of things (fighting monsters, trying to manage the Beholding) to protect the human partner (Basira, Martin), who meanwhile is anchoring said monstrous partner to their humanity while basically hanging out and making big picture plans anti-Elias plans. 

It’s not a perfect parallel, obviously, but the dynamics are there. They’re both avatar-human relationship based around that idea of a single anchor point--and, whoo boy, did Daisy and Basira problematize that dynamic. Daisy killed people, and Basira turned the other way. The fact that Daisy was so reliant on Basira to act as her moral compass means that, in the cases where Basira didn’t interfere, her own moral compass degraded. Her reliance on Basira to anchor her meant she wasn’t anchoring herself, and, combined with Basira’s enabling, that lead her down an extremely slippery police-brutality lined slope. 

Why is this relevant to Jon and Martin? Because the justification Martin gave when trying to convince Jon not to feel guilt after Not!Sasha--that it’s fine to kill monsters, as long as you aren’t going after innocents--is extremely reminiscent to how Basira and Daisy justified Daisy’s actions for a long time. 

In Mag91, when preventing Daisy from murdering Jon, Basira tells Daisy that she’s always known what Daisy’s been doing, but she was alright with it, because she thought Daisy just killed monsters. Like Martin turning Jon’s tape over to the archives crew, she steps in once she realizes that someone she thinks of as a person is also in danger. Later, when confronting Jon, she seems to draw a firm line between Daisy’s actions, which were compelled and so required no guilt, with Jon’s actions in going after innocents. Compare this line from Martin, in Mag166:

[MARTIN]:  This isn’t like it was before! We’re not talking about innocent bystanders in cafes here, Jon; these things are - th-they’re just evil, plain and simple, and right now they’re torturing and tormenting everyone! If you want to stop them and have the power to, then - then, then yeah, let’s do it, let’s go full Kill Bill!

Once again, we’ve got a clear black and white moral boundary: if you want to kill monsters, that’s fine, because the things you’re killing aren’t human. There’s the differentiation between compelled attacks on innocents, and the choice to go after things that are evil. Both Martin and Basira brushed aside their partner’s guilt, on the basis of compulsion; both Martin and Basira encouraged them to use their powers to go after monsters, which they considered morally justified. The circumstances are different--Basira didn’t want Daisy to die, while Martin wants Jon to stop blaming himself for the end of the world--but the choices they’re making are in some ways very similar.  

We know where that goes for Daisy and Basira. Basira, while initially Daisy’s reason for staying human, also becomes her reason to return to the Hunt. She, like season 4 Martin, makes the choice to give up on her humanity to save the person she’s anchored to; unlike Martin, nothing stops her before she goes through with it. We’ll have to wait until the Hunt episode of this season to see how it ends, but it’s definitely not going to be happy. 

All of which is to say--it was a sweet moment that shows some great development in their relationship, but if Martin is Jon’s one reason for staying grounded, we have historical reason to believe that this isn’t necessarily a good thing. It is, at the very least, a complicated thing, and something that probably won’t escape the same exploration of codependency, us-vs-them mentality, self destructive behavior, and interpersonal responsibility that has shown up in almost every relationship in the podcast. This time, though, the stakes are even higher--if Jon loses himself, he doesn’t just kill a few people, he becomes what the Beholding intends for him to be. 

(This also isn’t even getting into the weeds of codependency in regards to Martin’s caretaker trauma, and what it means to be relied upon as the sole person keeping another human being grounded and together, or how that ties into the ways in which trust in their communication seems to be slowly eroding over time and under--but that’s another post entirely.)

[letterstothemidnightsociety]

THAT’S RIGHT BITCH! It’s October and I am still watching and inexplicably blogging about Supernatural - a dinosaur of a television show that’s been on the air longer than most children I know have been alive. 

I know I’m An Old because I don’t think kids these days understand the struggle it was watching television before streaming. We had to wait for episodes. Hell, I don’t think kids these days even really have to wait for seasons. I mean, Voltron premiered on Netflix in 2016, capped off their seasons at 13 episodes a piece and, oh yeah - aired seasons 5 - 8  all in 2018. Was I mad about that? No of course not. Do I also say phrases like “kids these days? Yes, so who even knows if what I think is relevant anymore. 

Alright, so speaking of seasons, last time I looked at pilots and pilot seasons and how the streaming era is changing everything we know about starting a TV show. But once you’ve got your pilot down, now what? 

Not this kind of pilot. Also, based on the prerequisites for demon possession, we’re all agreed this co-pilot’s like, an alcoholic, right?

There’s a rule in TV (sort of) that the first six episodes (some might argue the first season entirely) should be a kind of rehash of the pilot. The pilot sets up your premise and once you’ve got your pilot down, your job as a TV writer is to re-establish that premise over and over again. You’re building your world, you’re writing it’s rules. You’re setting up a template, a formula for how your episodes are gonna play out. This helps your audience get to know the characters, get familiar with your world, get comfortable spending time with them. Essentially, you’re getting your audience to trust the show that they’re going to be tuning in to for at least the next 20-some-odd episodes. 

I’d also argue that this is important so that later, you can break that format later. I’m not saying you should break the trust your audience puts in you, and that’s probably a real fine line of distinction. But if you break your rules right, it can hit the audience with a big emotional sucker punch. Or, it can stand out as a real breakout, tentpole of an episode - I’m thinking specifically about Ghostfacers! In season 3, or Once More, With Feeling, from Buffy. Those episodes work, really work, because they deviate from the formula, but they only work because we know the formula so well.  And these aren’t big changes to the way episodes are done, they’re just shifted ever so slightly that they felt new again.. 

So what is the premise of the first four episodes Supernatural? What’s the formula they set up for the rest of the series? 

Brothers. I said it in my last post, I’ll say it again, Sam and Dean/Jensen Ackles and Jared Jared Padalecki are what makes this show. Full stop. I think we could have gotten 5 seasons out of a show starring two other dudes. I do not think this show could have gotten 15 seasons with two other dudes. So from the pilot through Phantom Traveler, we learn that Sam and Dean have a sh*tty home life - their mother was killed by some mysterious evil thing and their father raised them to be little demon-hunting child soldiers while they look for the killer. Oh yeah, and Sam’s girlfriend died the exact same way which we will never forget because Sam’s gonna have a dream about it almost every episode from here on out. We set up the tension between the brothers - that Sam got to go to college while Dean stayed with their dad like a good boi. We learn that everybody hates each other probably because they are deeply and unhealthily codependent love each other so damn much. 

Next we get the basic rundown of the season arc: 

Dad’s on a hunting trip and he hasn’t been home in a few days. The Winchester brothers are looking for him and by extension, looking for answers as to what killed their mom/Sam’s girlfriend. We also get the basic rundown of every episode: dad is a mysterious and elusive sonuvuabitch, so every episode they go about, say it with me now:

“The family business.” I would also accept “Killing as many evil sons of bitches as I possibly can,” but why can’t I find a gif for it?!? 

Backtracking on this but you know what else gets hecking established with the Winchesters? Sam is the cute one with the people skills and the puppy dog face, so you’d naturally assume that he’s the soft one. No. Not the case. Dean is the Sofffft Boi. The SOFTest boi. Dean wants Sam to talk about his feelings, Dean wants Sam to not keep things bottled up, Dean is the one who desperately wants to keep a hold of his family and also is just deeply broken and traumatized on the inside and oh no, I told myself I wouldn’t do this but I did it anyway. Sorry not sorry. This watch, I’m really picking up on the fact that Dean is, weirdly, the Mom Friend in this first season. Like, he’s basically a Trailer-Trash-Teen-Pregnancy Mom who’ll give you spaghettios five nights a week and a shot of whiskey so you’ll quit yer bitchin’ and go to sleep faster, but he’s the Mom nonetheless. Later in this season and in other seasons, I think you even see him do his dumb-baby-best filling in as the Mom when John went off the deep end. Anyway, I have a lot of feelings and we don’t have time to unpack all of that so I’ll just move on.

RUDE.

Next we set up our Supernatural Bag of Holding - what’s in it? What are the mystical artifacts they use to kill those evil sons of bitches? First up is The Car. Damn, I am not a cars girl, but that 67 Chevy, it does things to me. 

This car has some weird pavlovian trigger for me, it’s not NATURAL. 

The journal. 

John Winchester, you journal the way I imagine a psycho killer journals and I would just really appreciate it if you could be ANY MORE ORGANIZED THAN THIS.

The Trunk Full of Weapons - I love that in these first few episodes (and possibly the rest of the series???) they give this HELLA conspicuous look every time they open the trunk full of weapons. It’s hilarious EVERY TIME.

No, you’re not being obvious at ALL, guys.

The Fake ID’s - from credit cards to impersonating feds, these boys are not afraid to break the law to save some lives and I feel like that’s...that’s the theme of the show maybe? They’re here to save people and they’ll do what they have to to do that? In a world that clearly establishes a dark vs. light/good vs. evil dichotomy, the Winchester make it their job to live in a world of grey? Basically? 

Next on the checklist for this first season of Supernatural - it’s spoopy. *Spoop mileage may vary.* I said it last time, but I’ll say it again: this first season aired at 9:00pm at night. That means it’s primetime stuff for the 18 - 25 year old crowd, but they don’t want to risk some 13 year old watching it and getting too scared before bed. 9:00pm is X Files time slots, Fringe time slots. 9:00pm says you’re gonna get something a little more gruesome and gory and shocking than at 8pm. 8pm is for Friends. Vampire Diaries aired at 8pm its first season. 9pm is for the real adult content (but not too adult because the audience is still mostly children). 

SPOOP!

But yeah, let’s look at the real horror vibe that you get off of these first four episodes. We talked about La Llorona from the first episode - this is a legit ghost that they fight. The kids at the end that literally drag their mom to hell? Pretty spooky stuff. The Wendigo in episode 2 is a literal monster of the week and so for me personally, it’s not that scary, but it is a cannibal monster that eats human flesh. Dead in the Water has vibes from both Jaws and Friday the 13th. Everything from the lighting to the sound design let’s you know this is a horror show, or as horror as you can get on network television. Listen to the scenes just before somebody dies and you get a nice creepy “Come play with me” whisper coming out of the water. I’m a little spooked just thinking about it now. Yes I know I’m a chicken, and I’m OK WITH THAT. And if we go past my season 1 disc 1 into episode 5, Bloody Mary is STILL terrifying and I STILL watched that episode with half my face covered. That’s where I am these days. It’s 2020 and the world is a nightmare but imagining Bloody Mary creepin’ out in my mirror does not need to be a part of it. 

SHE F*CKIN CLIMBS OUT OF THE MIRROR GUYS! I DIDN’T KNOW SHE COULD DO THAT!!!

Then we get Phantom Traveler and our very first case of black-eyed-demonic possession. Watching this episode now, it’s like watching someone’s home movie of their first steps as a baby. They’ve never even done an exorcism before guys! They have to read the exorcism rite out of the journal! It’s so cute!!! Let’s not think too hard about how they got that full sized bottle of holy water past TSA in a post-9/11 world. And try to ignore how poorly these special effects have aged - the smoke from the demon possession?? OMG! THIS EFFECT! I’m pretty sure I could make that effect with my first ever graphic design software on my, like, 2009 mac book pro. So cute and soooo good! I’m gonna leave that CG plane alone, they’re doing their best. 

SO cute and SOOO good!

You want to know what my favorite established staple of Supernatural season 1 is? The extras. LOOKIT these guys - 

Wendigo you have Cory Monteith who later goes on to star in Glee. 

You have Alden Ehrenreich, Debatable Han Solo, doing a lot of face work with very little dialogue. 

You have Gina Holden who is in SO. MANY. Spooky-type things! My personal favs are Blood Ties and Harper’s Island, but she’s in Fringe, she’s in the SAW franchise, she’s in the Final Destination franchise, she was in some deleted scenes on an episode of Teen Wolf! I LOVE seeing Gina Holden, anywhere she pops up. 

And speaking of Harper’s Island, you’ve also got Callum Keith Rennie who played John Wakefield in Harper’s Island, a show that was A+ Great and I highly recommend if you like Agatha Christie and/or murder mysteries. 

Honestly, Rennie looks like he’s about to murder a bitch in this episode of Supernatural, it is not a stretch to believe he’s a psycho killer.

Dead in the Water you’ve got Amy Acker, a regular in Joss Whedon and Whedon-adjacent type shows.

Good LORD, this wardrobe was SO 2000′s WB and it PAINED me.

And finally in Phantom Traveler, you have Jaime Ray Newman who also shows up in a lot of the shows that I like to watch. She was in Eureka, she was in Midnight Texas, both kind of terrible shows that I love because they are terrible, but she was ALSO in Bates Motel and Veronica Mars, which are generally considered to be more quality, so there’s that. 

This still implies that they actually LIT scenes, which is a SURPRISE TO ME. 

Point is, seeing these actors in Supernatural back in the early 2000’s felt like I was seeing the start of their careers. That may or may not have been the case, but as a viewer it was exciting to see them pop up again in other things.

So what about TV now? Do we still use those first 6 (sometimes more) episodes to re-establish the premise? Well, it certainly hasn’t gone away. Look at any network show that still produces 22 - 24 episodes a season and you’ll still see that the pilot season just keeps re-iterating the premise established in the pilot episode, specifically in anything that’s procedural - that’s you’re monster/problem-of-the-week shows. Think sitcoms like Brooklyn 99 or Superstore or dramedies like Zoey’s Extraordinary Playlist. The reason being that these shows play in the traditional model of television - on a network, once a week. They are not releasing episodes all at one time or relying on their audiences to stream a whole season in one sitting. These are shows that still assume that someone out there is going to tune in or stumble across their show one night while they’re surfing channels (lol) and need to be told, no matter what episode they’ve just turned on, what the premise of the show is. They need to be formulaic so that people can pick it up anywhere at any time.

But what about shows that don’t follow this traditional model? I mentioned in my last post that seasons are getting shorter and shorter, so when you’re writing a show that only has (8) episodes instead of 22, how much time do you really want to spend establishing the premise? Because of these short seasons, you’re also dealing with shows that are more serialized and less procedural than their predecessors - meaning, you’re dealing with a show that focuses on a season long story (think Game of Thrones or Stranger Things where each episode is an important chapter that you can’t skip) vs. a procedural (think the shows I mentioned above or any cop drama really) where each episode is it’s own contained story, neatly wrapped up at the end. These are shows where you can skip an episode and still know where you are in the show no matter where you start or stop watching. Supernatural is a little bit of both - procedural with their monsters of the week AND serialized with a season long arc. We’ll talk more on that in a later post. 

Not only are we getting shorter seasons, but we’re also dealing with shows that are not released over long periods of time. A few streaming channels, like Disney+ and HBO Max, make a deliberate point to slow-drip their seasons, but most streaming channels will release entire seasons in one shot. You don’t need to worry about your audience missing an episode because they have 24/7 access to all the episodes all at once. And for the most part, they’re designed to be binged. They start at full speed and they don’t slow down to keep driving you to the finale. 

Do I think the procedural is ever going to go away? No. As much talk as there is about dropping the cop drama from TV all together, I think audiences still love a good mystery series. And you can’t just think of procedurals as cop dramas either - a procedural also covers most if not all sitcoms. New Girl, Letterkenny, Parks and Rec, Superstore - these all have a premise that doesn't change from week to week. They may make tiny shifts away from what they set up in the pilot, but by and large, you know what you’re getting into any time you turn on an episode. I think we as an audience still like that kind of familiarity. We may be seeing a bigger swing towards more serialized content, but that doesn't mean that the procedural is dead and gone. 

So that’s what we’ve got for Supernatural - two dudes, driving around in a car full of spears and hand guns, killing bad guys. Some day, they may even find that father that’s missing. What could possibly go wrong? A lot. Stay tuned. 

[professorspork]

Frozen 2: first impressions

Hello friends! As you know, Frozen was a HUGE part of my fandom life ~back in the day.~ So of course I saw the sequel opening night and of course I have thoughts after ruminating on it for 24 hours. I’m sure there will be many things I forget or don’t cover--after all, I’ve only seen it the once. And I make no guarantees that my thoughts are coherent or consistent. (If I contradict myself, I contradict myself-- I am large, I contain multitudes.) I’m also sure my opinions will evolve upon rewatch. Lord knows they did last time.

Is that enough disclaimer yet? OKAY. Some of my thoughts are negative! Some are positive! It’s a grab bag! Here we go!

Spoilers under the cut, pals.

IN SHORT: As an expansion on the world and the characters I adore, I pretty much loved it! As an extension of uh Big Capitalism and what it means in terms of real world ramifications... I have questions/comments/concerns!

IN LONG: I think I’ll start with what didn’t work for me and work my way around to fangirling at the end.

the meh

I feel like... part of it is that Disney has just gotten worse and power-grabbier in way more blatant ways in the last few years, and part of it is that I’m ever-more cognizant of these things. And the fine line they want to walk of “We can tell stories about progressive concepts! Princesses are woke now, actually!” without taking a single financial risk when it comes to alienating foreign markets, homophobes abroad or Nazis domestically is just a fundamentally untenable position to be in. You don’t get to retcon Elsa and Anna as being somehow less white than they clearly are and then try to tell a story about reparations in which no one actually gets reparations. You don’t get to get points for that. It’s in some ways admirable to want to try, but all you do when you’re coming at it from the position of being Disney when you tell this story is show the cracks in it.

I can see how, on a purely storytelling level, having Papa King Arendelle Agnarr be of Arendelle and Iduna be of the Northuldra and having their daughters be the bridge between the two communities is a really tempting, tidy, tie-a-bow-on-it narrative. And I also see how creating the backstory of the war and the mist neatly explains the absence of indigenous faces in the first film. But like... come on. Introducing an indigenous group like the Northuldra and then declaring that Elsa and Anna are a part of it is insulting. There’s no other way to say it. It just feels gross. I’m glad that Disney consulted with the Sámi on the movie, and I acknowledge that both real-life Sámi folks and the onscreen Northuldra come in a broad variety of skin tones and phenotypes. But even with the most generous possible reading of the choice-- that it’s well-intentioned, albeit misguided-- falls flat for me. It feels like Disney trying to have their cake and eat it too. And I don’t really see any way around that. It just... gives me tremendous pause, and it’s so core to so many of the things the movie chooses to be that it’s really disquieting and disappointing.

But then again, Disney being racist isn’t exactly news, and there’s still plenty of flaws to tackle even when we put this (massive) issue aside.

This movie is... weirdly allergic to stakes? It’s not like I wanted Elsa to stay dead, or that I expected Olaf to (more on that in a minute). But Anna’s decision to go full Thor Ragnarok and, as @theseerasures​ jokingly put it to me last night, “throw the first brick at Stonewall” and destroy Arendelle felt right. It felt appropriate to the story they were telling, and it would have had the film put its money where its mouth is re: how atoning for the sins of our forebears requires massive systemic change. So having Elsa charge to the rescue on her water-type Rapidash extremely queer steed daemon Gay Horse and save the city felt cheap. (Also, side note: is Arendelle really just... that one seaside port town and nothing else? Are there only like fifty people in Arendelle?) The citizens had already been taken to safety. The society would live on; they’d all get to rebuild. What was the point of saving the castle, just for saving the castle’s sake? To what end? I don’t see how that’s more inspiring or reassuring or worth it than watching the sisters lead their people from the ground up and starting anew. I don’t understand what they thought was worth protecting, when, again, all of the people were safe. Stories need stakes in order to have meaning! HTTYD has impact because Hiccup loses his leg in his attempt to save his dragon and his people. You know? You don’t get to just... keep everything the way it is and call that restorative justice, and the film clearly wants us to. And I don’t understand why. The only reason that makes any sense at all to me is that they thought it would scare little kids, but like. THIS COMPANY HAS PORTRAYED WAY MORE TRAUMATIZING THINGS THAN THAT. MANY TIMES.

Point in fact: Olaf’s death! Genuinely disturbing! Sad! For the most part I really liked the way it was handled, but it also felt very. Y’know. “Mister Stark, I don’t feel so good.” This is perhaps my most uncharitable nitpick, so I’ll keep it brief, but having Olaf drift away Snap-style just felt like an extremely synergistic, Disney+ nod at Infinity War instead of an organic decision. Which maybe isn’t fair, because it makes more sense for Olaf to become a flurry than for the Snap to make people dust! But nevertheless, the weird wink-and-a-nudge feeling of it totally pulled me out of what should have been an extremely poignant moment. Elsa’s revelation during “Show Yourself” felt similar--like. Not to take away from your moment, Elsa, but the call isn’t out there at all, it’s inside me was already covered by this larger canon, and in a more elegant and eloquent manner.

Which--tbh, the music overall was a bit of a letdown (though “Into the Unknown” slaps and a boyband of five joshes “Lost in the Woods” was perhaps the best sequence in the whole movie). I respect that they clearly wanted to give everyone a solo this time around in a deliberate way, but the songs felt perfunctory for the most part--describing moments instead of advancing them. This film was such a departure from how Disney normally makes sequels (mostly in a good way, actually) and I couldn’t help but wonder what it would have looked like to make a version of this movie where no one sang at all. It didn’t feel cohesive.

And, though it would kill me to get rid of “Lost in the Woods” because it’s perfect... I kinda wish Anna and Kristoff had gotten engaged at the end of act 1, as I think they pretty clearly did in the first draft of this script. Their relationship drama felt like a hat on top of a hat, and they could still have addressed their codependency/insecurities while being engaged. Leaving the proposal for the end just made it an anticlimax after everyone’s been brought back from the literal dead. And it maybe would have left them with more options than having Kristoff just vanish from the narrative for the entire back half of the second act.

Also Honeymaren should have had at least two more scenes. I can’t justify this on a narrative level; the movie didn’t actually need more of her. But like. If you’re going to go out of your way to keep Elsa carefully single, and even give KRISTOFF a new boyfriend, I feel like the least you can do is let us get to know the obvious throw-us-a-bone offering a little bit better. Like. Literally. the actual least you can do.

anyway. all of that said.

the yay!

I can’t tell you how gratifying it was to me, personally to open with a flashback of the girls that demonstrates as clear as day that Elsa is an ace lesbian and Anna is bi and polyamorous. Thank you, snow action figures.

And like. Overall the way the movie tackled the sisters and their relationship was pure *chef’s kiss.* (And I think for me, the strength in this particular bullet point probably outweighs all of my complaints and concerns from above, in the end. At least from an “I still derive enjoyment from this flawed thing” standpoint, though perhaps not from an “I’d recommend this to anyone without caveats” standpoint.) THEY LOVE EACH OTHER SO MUCH. THEY WERE SO THEMSELVES. I do think part of the fear of any sequel where there’s been a significant amount of time since the last one and you were so emotionally invested in it the first go-around is like... what if everyone feels OOC? What if what I saw wasn’t what was really in them after all? What if they feel like strangers? What if they let me down? And there was none of that, even for a second, with this movie. Their parallel journeys were character-appropriate and impactful. Elsa finally gets the freedom she’s always been looking for. Anna finally gets the responsibility she’s always been ready for. Anna, the caretaker, is positioned to take care of everyone. Elsa, the lesbian, runs away to the forest to hang out with beautiful powerful women. Elsa, the force of nature, is finally allowed to commune with it. The scene at their parents’ ship truly anchors the whole movie in the best possible way. And also, like... this movie showed how fucking weird Elsa is, and I feel so vindicated. SHE’S SUCH A DORK. I can’t believe I never realized that Elsa would totally choose Charmander as her starter, and the way she talked to the fire salamander was literally the most charming thing I have ever seen. “They’re staring at us, aren’t they?” GOSH. [IMDb says the salamander’s name is Bruni, and I’m very sad they never spoke it aloud.] [Someone do a rotoscope of the Tangled short where Pascal and Max almost ruin Rapunzel and Eugene’s wedding by losing the rings but it’s Bruni and Sven at Kristoff and Anna’s wedding, thank]

Anyway. All of that goes double for Olaf, because I really wasn’t sure they could pull off the miracle of him not being annoying twice. And they did! Olaf’s grappling with his burgeoning maturity was adorable and profound in equal measure, and his plot reenactments were sublime. And when he realized to Anna for the first time that he was feeling angry, that he was capable of feeling angry... what a tremendous moment. (Actually, I’ll extend what I said about the boat scene to include the Earth Giants river sequence in total, because. Again. Wow.)

And I have to say... as much as I am given real pause by their execution of the concept, “you just do the next right thing” is such beautiful (*cough* Jewish *cough*) praxis. I love that. In the broader Disney Revival canon of Tiana’s work ethic and Rapunzel’s abuse narrative and how Wreck-It Ralph talked about PTSD and all of the myriad things the first Frozen did, I might love “the next right thing” most of all. What a simple, powerful, evocative message. It’s so lovely. A perfect gem.

Also worth acknowledging that the animation was straight-up stunning. Which I expected, generally, but the water droplets in the ship? The way Elsa just loses it sobbing when she sees her mother’s face in the ice? The tender, shattered way Anna pulls Olaf in closer to her as he fades? W.O.W. And, y’know, while I stand by what I said above about stakes, I will say that the moment we first see that Elsa is experiencing cold, that Elsa is freezing? Genuinely--and please forgive the pun--genuinely chilling.

I love Gail the Gale. I love Mattias and Yelana and Ryder and Honeymaren. But mostly I just... loved the dialogue and these characters and that I got to spend a little more time with them. And I’m sure I’ll do so at least two more times before it leaves theaters.

... apparently this is over 2k words now so that seems as good a place to leave it as any. Thanks for coming to my TED talk.

[palmerasenfuego]

An Open Letter to His Cop Father

My hope is to make clear, maybe for the first time, my perspective on a variety of points of contention between you and me, not so that we can reconcile them necessarily, but so that I won't feel the need to tiptoe around you any more. Addressing this problem I have with codependency and self-censorship has been my task ever since I left my ex, and I think you yourself would agree that in the last year and a half, I have become much more vibrant and present than I ever was as the kowtowed ghost who let his controlling girlfriend dictate the terms of his existence. In the following letter I strove to be unsparing, but only for the sake of clarity. I don't hold any resentment towards you. I want to take ownership of my own role in our dynamic so that we can move into the future, unencumbered.

A few months ago, you and I argued over my career with regard to the classes I plan on taking for my Masters in library science. After we'd each calmed down, you said that you were only suggesting I keep my options open, as we'd both noted that the future of public libraries, and indeed social services generally, is uncertain at best and possibly doomed. You merely meant to suggest that I look into classes that would prepare me for information career opportunities in the private sector, in the probable case that public libraries no longer exist in the future.

At the time I didn't want to argue any more, and I agreed that you had made good points. I would keep my options open. What you didn't understand, however, was that I only grew "defensive" about my plans after I thought I presented them as exactly what you claimed to be suggesting—that is, I would look into a variety of library and information science related fields while keeping my focus, somewhat idealistically, on public libraries. But then you interjected, as you so often do, with all the reasons why my plan might not be such a great idea. Had I considered the uncertain future of public libraries? (Of course I had.) Wouldn't a librarianship at a prestigious museum be a more stable and lucrative career? (Maybe, but nothing's a safe bet.) 

Because I stood my ground, because I intend to fight for what I believe in while I still can, you accused me of being 'defensive.' There's always an underlying tension between us, you said, which is something I don't deny. Why do I always seem resentful? you asked. You accused me of only viewing you as a resource to draw on without any care for you as my father, a totally unfair and manipulative thing to say of your son who followed you and your other son for a decade, watching you coach his brother’s baseball team, without him; your son who desperately wished his father understood his art and literature recommendations, but knows they'll usually go unheeded; your son who, despite knowing what his father did to his mother, and resenting that his father won't speak with his mother at all, still loves his father. 

You can't seem to recognize sometimes that your mistakes could have had any effect on the way you and I relate, and I think you think any antagonism between us is me blindly rebelling, an absurd image to have of me, the most docile black sheep any flock has ever had. To be clear, what causes the tension between us is a feeling in me that I won't even be heard if you've previously decided you're in the right. So rather than speak up, I generally keep my mouth shut, which is not healthy for me, nor is it productive of the kind of relationship I'd hope to have as an adult with my father. 

You would prefer that I not stake my future on public librarianship, because you would not do that. Therefore, I shouldn't do that. I don't care whether you disagree with me. Ultimately, none of this letter is about convincing you of anything. What I want to address is that I have never felt like my voice would be heard, by you or anyone, really, which is in part a result of having my perspective so often subjected to critical (over)analysis from you, as in our argument over public libraries. Or, it’s a result of having my enthusiasm mocked anytime you and my brother didn't appreciate something I did. 2001: A Space Odyssey is a masterpiece of American art, and you Philistines didn't watch more than 15 minutes of it, but to this day you make fun of me for wanting to watch it with you. 

When we had disagreements over any supposed transgression on my part, you quickly dropped the pretense towards being a concerned parent to assume your interrogation persona, with me the guilty-until-proven-innocent suspect. One of the oldest tricks to get someone to fess up is asking the same question several times, forcing the suspect to repeat their story. Any time you seemed suspicious I wasn't answering your questions straight, it would be "You sure? Positive? Nothing else?" The only thing missing was the aluminum chairs and the spotlight in my face. All disagreements were structured this way, with you above, already having the answers, and me below, forced to acquiesce to the judgement presumed. Attempts to defend myself when I felt I was unfairly accused were met with the reprimand to not "talk back," something I've internalized deeply, corrosively, finding myself drawn, in friendships and in love, to those who shout me down or laugh me out. As a result, my natural cowardice and timidity have festered for years.

You have long urged me, since childhood, to be more assertive, less passive, to stop "playing the victim," and these were not unfair or inaccurate criticisms. Like Kafka with his father, none of this is to say I blame you for the effect you've had on me and my inability to speak up. I was a timid child, easily influenced by social pressure and a need for approval, most especially from you. From my child's view I was enamored of what you seemed to represent, which I suppose is unremarkable, as sons and fathers go. Perhaps also unremarkable of fathers and sons is how elusive your approval seemed to be. There was never outright disapproval of me from you, and I always knew you "supported" me. But let's not pretend like we at times did not and do not appear alien to one another. Which is normal, healthy, so long as it's accepted, because we’re separate people, but the trouble fathers and sons get into is they each seek validation from the other—the father struggles to impose his own standards on the son and see his progeny flourish as so judged by the standards imposed, and the son seeks to establish himself as his own person, separate but unable to escape the looming shadow of his father, the son's primary model for what a person is.

One instance where I probably tried to voice an objection to your discipline, an instance where I knew the gravity of the issue you wanted to convey but disagreed that what I'd done deserved such a strong reprimand from you, was when I drew a Klansman in my notebook, being the bored and doodling 8th grade boy that I was, watching a documentary about the Klan in history class. I wasn't approving of the Klan by drawing a man in a pointed hood, but to your credit, you saw an opportunity to make clear the need to take seriously the violence and oppression that African-Americans have faced in this country, and to never trivialize symbols of that violence and hatred. (Fatefully, I was similarly firmly scolded by my mom when she saw a swastika in one of my notebooks, which is when I learned my Polish grandmother escaped the Nazis as a small child in the belly of a freight ship, traumatized by the sight of dead stowaways floating past her, and this after the death of her brother at the hands of fascist thugs.)

When the black community today raises the cry "Black Lives Matter," what they want is a reckoning from American society for the way that black life has historically been deemed disposable. Africans were ripped from their mother country, brutalized on a treacherous trans-Atlantic voyage, and sold off in a land where the climate and environment were entirely alien, their various languages as unintelligible to one another as to their masters. They were subjected to centuries of horrific slavery, whippings, rape, and familial rupture. Any who managed to escaped their bondage risked dogged, murderous pursuit by slave patrols. The de facto opponents of slavery won a civil war and slavery was abolished, and for another century black people were terrorized with lynchings by whites (who were never prosecuted), all while being denied economic opportunity and treated as less-than-second-class citizens in public spaces, not to mention suffering a complete lack of political representation. It wasn't until 1968 that the political rights of African-Americans were codified into federal law, but the mere granting of rights does nothing to address the long term devastation wrought on the black community, which built this country for free, this country that so long denied them not only equal rights and opportunity, but denied them their humanity. And to this day, black people go murdered, in broad daylight, in their cars, or while they sleep, both by the police and by others, without justice. "Black Lives Matter" needs to be said because American society does not seem to acknowledge that black life matters, despite America's lofty ideals for itself as a place of equal protection under the law. If black lives matter, then all lives matter, but not all lives matter until black lives matter. 

Saying "Blue Lives Matter" is to be presented with that history, turn it around and say "Yeah, well what about us cops?" No one chooses to be black; all cops choose to be cops. If you want the profession of policing to have the respect you demand people give it, then cops should be aware what they're signing up for: a thankless, demoralizing job that answers to the public, and not the other way around. To say "My job is hard so we matter too!" when, after centuries of oppression, the black community says, "Our lives matter!" is a gross exercise in bad faith. This is why "Blue Lives Matter" is offensive, utterly bankrupt beyond the expression of resentment towards an imagined enemy. American society has no doubts about the value of the lives of police officers. What easier way is there to bring the full force of the American justice system, with a swift investigation and aggressive prosecution, than to murder a cop? The justice system has time and again demonstrated the societal value of police officers' lives. The same can not be said of black lives, which is why "Blue Lives Matter" is far more trivializing of the racism still faced by black people in America than some 13-year-old kid's drawing of a Klansman.  

Part of me worries that writing this is futile, that you'll see this as another instance of me "talking back," i.e. saying what challenges your airtight prosecutor's argument. Another part of me thinks what I’m saying resonates with your bedrock American and Catholic values. After all, I had to get my principles from somewhere. But if this doesn't move you, I will rest well knowing that at the very least I'm not shutting myself up any more, and that I'll finally be coming to you as a man and not as your child, facing you squarely, head no longer bowed.

I love you.

[anonymoustoddler]

I Got Stoned And Started Typing To Post On FB (And Ended With Something That Could NEVER Get Posted)

Hah. I hit my vape pen a bunch and then this happened:

This afternoon, after taking way too many hits of my *state tested, clean and safe* vape pen, I was surfing hulu on my laptop while scrolling through facebook on my phone and playing Stardew Valley on the PS4 every few minutes in between and I suddenly, in fact altogether _casually_ thought to myself, “I wonder if I’d want kids and be able to take care of them if I made it to 38?”

And the thing is, that is literally the most positive organic thought I’ve had in my VERY busy, VERY chatty brain in almost two years. It is the first thought I have had regarding a potential future that wasn’t colored by the idea that My Mom Is Dead So Nothing I Could Do In Life Would Mean Anything Or Be Possible Because She Isn’t Here To Experience It Too Or To Help Me Through.

This stoned, distracted, completely mindless and unfocused random little insignificant thought... is the first time in over a year and a half of thinking, that did not immediately end with, “She’s Dead So You Can’t Ever Hope For That Anymore Because It Means Nothing Now That She Can’t Be There To Experience It Or Get To Be Proud Of Me For Once” and also, “Nothing Is Possible Without Her Because Without Her I’m Alone And Unable Forever Unless Someone Else Takes Over Helping Me But That Will Never Happen And I Will Never Be Ok Or Able On My Own.”

I mean, no wonder I’m doing so poorly and also dealing so badly with her death?! Being close was great in a lot of ways and awful in others. Our codependent enmeshment was deeply and traumatically unhealthy. Having to be your mother’s best and only friend at 8 years old is... really weird. And abnormal. But then, so is developing a diagnosable anxiety disorder and eating disorder at FOUR YEARS OLD is kind of abnormal too!

The thing is... some physical aspects of puberty for me started very early. VERY early. All aspects of puberty seemed to start earlier in me than a lot of girls in my class, in my grade. So maybe it makes sense too then that I would develop these psychological issues so early, particularly with the stress and fear of moving from Texas to Michigan and leaving the first friends I remember having, how terrified I was of change and meeting new people, trying to make new friends. I was so painfully and obviously shy. I was so afraid of people.

But anyway. No one caught the anxiety disorder until I did myself.... in college. I lived with a totally unchecked anxiety disorder and pretty high-but-not-yet-extreme depression from the ages of five and eleven/twelve respectively, and the first time I got ANY help was at the age of 19. No wonder I was sick for so long. The fucking eating disorder is suuuuch a perfect(ly horrifying) coping mechanism. And since it was my primary, and often only, coping mechanism for many many many years, as in almost ALL of the first two decades of my life. Two decades of drilling this into myself of How To Relieve Stress And Self Soothe = Disordered Behaviors And NOTHING ELSE.

Is it really any wonder why I’m like this??? I am dealing with the loss of my only family; my best friend by leaps and bounds and freakin lightyears; my entire and very giving safety net - so I could try something new or move away or whatever and I knew I was safe because if it didn’t work out or I tanked I could ALWAYS go home. Always.

I’m also dealing with the loss of... the person who never let me try things because she was a control freak so I could never learn from her; the person who taught me the

passive aggressive ➡️ passive aggressive ➡️ very aggressive

method of responding to interpersonal relations, which I mean... how could anything go wrong?! 🙃🙃🙃

I’m dealing with the loss of a relationship where my mom once, in all seriousness, asked me if I’d have a baby if I didn’t have to take care of it, she would take care of it for me.

Like, I know part of her was “joking” but... she wanted to be a grandmother. She wanted to see me have a career, a family, security.

But also who sort of benefited from my continued illness; my inability to cope or work; my low functionality, my constant need of help, support, and validation... they made her SO frustrated but also kept her busy and kept her from being alone, kept me with her but also sometimes was too much for her so it was upsetting, because surprise - crazy people gon turn up a notch higher than you can predict, and don’t ever forget that.

I am mourning this relationship that either fully shaped or strongly influenced almost every issue I have now. I don’t mean to shirk responsibility, just to be clear - I have to actually try as much as is literally possible to fix the things in me that are broken. I have to find a therapist and go to therapy. Trust my doctors, try a hundred different meds that might ALL make me horribly sick or even more crazy or both as side effects while still trying to build some kind of life. Maybe, eventually, find one, but also... get out of bed every day. Shower, brush your teeth, get dressed, GET OUT. Grab your coat boots keys purse and go outside. Make it into your car, drive it down a few blocks (depending on where you want coffee/are you reading a book or can you play HP there/etc), get coffee and sit and read or play a bit or work lines or whatever. Make your to do list there! Lay out a plan for the day. Schedule at least two work items then set a timed break for video games or whatever. When the alarm goes off, you MUST get back to work. Two to three more items earns a longer break to play OR taking care of any other immediate need stuff and then going out or something.

If you want to get some casual exercise, go to either mall. Walk around for Shopkick, the game, and to get your blood flowing at least a teensy bit while working out rarely used muscles and burning juuuuust a few calories.

You spend SO much goddamned money on delivery, when actually — Going out yourself is SO much better for you. It is obviously MUCH cheaper, but it’s also good to get out of the house even if only going to and from the car and into the store or restaurant or whatever, and it’s very VERY important to drive the car regularly, to keep the battery functional and the guts ok. ((Also RE: CARS — Next warm day, that Prius goes through an intense car wash. Need to get that shit out so it stops stinking, prob growing mold ugh ugh need fix!))

But I mean JUST THINK how much money you’d have left, maybe to even treat yourself to better things, and also if I stop ordering, I will 100% lose weight. So muck fucking weight lmao. And with a job, I’ve got two sources of income coming in! And hopefully still medicaid for as long as I can possibly have it 😭

This got REALLY away from my stoned assssss BUT. The original point is this:

I thought about myself as potentially being alive six years from now, which is very much not what I see lately but which, for once, didn’t automatically sound like a punishment, and I thought of myself six years older and wondering if I might be better enough to be an ok caregiver and also have a relationship that could sustain children coming in, and I was able to and did have one?? That’s SO bananas to me lol. It made me feel... weirdly hopeful though.

[jchall110]

So ordinarily I would put something like this on my Twitter, as that’s kind of turned into my personal vent/diary platform as of recent, but this is going to be much longer than Twitter can allow, and I need to write this all out without losing my train of thought. It’s gonna go behind a Read More, and I’d like to request that you only read it if we’ve been mutuals for a while, and only if you really want to. I’m not expecting any response, hell I don’t want any responses, I just need to put my thoughts down somewhere, and if I put it in a Google doc or something I’m gonna come back to it later and dwell on it, but if I just put it somewhere and immediately delete it, I’m not going to be able to talk to my therapist about it on Monday. Anyway, content warnings abound, as I’m gonna be talking about depression, anxiety, self-harm, suicide, covid-19, stalking, emotional abuse, and a pretty negative experience I had in a partial hospitalization program at a local mental institute. You’ve been warned. (Also for those of you who are new here, “ignore me” is my personal rant/vent tag, feel free to blacklist it to avoid seeing future posts like this)

So. Here’s a brief recap of the past year and a half in my life. Back in October of 2018, my best friend went through a very bad breakup with her emotionally abusive ex, while another of my friends was struggling very much with his mental health and attempted suicide. I was miserable working at Target and was gearing up to return to school in the Spring. I had also had feelings for the friend who went through the breakup, and she sort of had feelings for me, but she also had feelings for the other friend, and I had some vague kind-of feelings for the other friend as well, so in December we all decided “fuck it, let’s all date.” I won’t recap the full details of the relationship but it was a goddamn shitshow. His mental heath continued to deteriorate and he wasn’t seeking treatment for any of it, her mental health was extremely poor as well as a result of two years of emotional abuse and extreme codependency issues, and my mental health suffered greatly because of the expectations placed on me, as well as his frequent mood shifts where he would go from wanting to spend the rest of our lives together to, at one point, telling me things in an effort to get me to hurt or kill myself. Not a good situation by any measure. School was good, though, and the two classes I took last Spring were excellent, and I was ready to go back to school full-time in the Fall. Flash forward to September of 2019. My mental health is terrible, though my academics are very strong. I decide, after a few specific incidents, that I can’t be in the relationship with the both of them anymore and break up with him. A lot of bad things happened. She ended up leaving him as well. Then, about a month later, she left me as well and moved out of the state with someone she had met on OKCupid only a few weeks prior. At this point I need to take a medical leave of absence from school and move back in with my parents because I’m so depressed and traumatized that I can barely function. You see, since breaking up with him, he had been harassing me, even after I had attempted to get the police involved. He would call me, text me, make new Facebook accounts to send me message requests, anything to try to get in touch with me. So with all of this happening, and with me basically unable to do anything, I decide to look into a partial hospitalization program at a mental institution not far from where I live. Insurance covered most of it, my parents said they’d pay for the rest, so I started the program in early November. Ordinarily it’s only a three or four week program. I was there for at least 5. It was essentially a day program, so I would be there from 9 to 3 every day Monday to Friday. It was a really great program, except for a few things. Firstly, because it was a program both for mental health and addiction, a lot of the programming wasn’t really applicable to me, as the only thing that I’m addicted to is sugar, and I have no plans to break that habit. There’s a history of temporary psychosis caused by mind-altering substances in my family, and I don’t want to even find out if it applies to me as well. I barely even drink. So anyway, I was one of maybe three people who was there exclusively for mental health, so my options for programming were a bit limited, until a bunch of us complained about the repetitiveness of that aspect of the program and they switched things up a bit. Unfortunately it was at the tail end of my time in the program, so I didn’t exactly get much benefit from that. Secondly, and more importantly, close to the end of my time in the program, one of the mental health workers, a pre-doctoral intern who was running most of the “classes” that I was in, said a few things to me that were really frustrating and upsetting. Firstly she said that “ADHD doesn’t exist, it’s just a reaction to trauma. Too many kids are getting diagnosed with it when they just have regular attention issues, and in adults a diagnosis is almost always accompanied with trauma. And of course people are going to perform better when they’re on a stimulant.” Which. Is wrong on so many accounts. First of all, it’s overdiagnosed in the wrong people and massively underdiagnosed in the people who actually have it, especially young girls. And secondly, of course it’s paired with trauma when adults are diagnosed with it. They’ve had to deal with it for their entire lives up until then without knowing why they couldn’t do things the same way as everyone else, and there’s also a lot of trauma in general that comes with having ADHD considering how many people say “Oh, you’re just not trying hard enough” or “You’re just making excuses,” not to mention the self esteem issues that come with it. And thirdly, yeah people will perform better when on stimulants, but does taking a stimulant make everyone else tired? Cuz it does for me because it lets me slow down my brain enough to actually sleep. So yeah, that was fucked up. But the second thing she said was probably worse, and it didn’t actually occur to me how much this impacted me until earlier today when I realized something, but I’ll get to that realization soon. So it’s my second-to-last day in the program. I had gotten almost no sleep the previous night because I had a massive panic attack right before bed because my asswipe ex messaged me some really fucked up stuff. So I’m way out of it, and my ability to concentrate is pretty shit. I’m doing my best, though, and I’m paying attention to the discussion. We were talking about the parts of the brain and how they’re impacted by trauma. There were a few times during that day where I had forgotten words but still knew what I was talking about, and at least one of them had happened in front of this woman. So she asks “Does anybody know what the part of the brain is that connects the two hemispheres?” I say “Oh, I do” cuz I do know what it is, but for the life of me I can’t remember what the name is. (It’s the corpus callosum.) So she looks at me and says, out loud, in front of the entire group, “You know, it’s okay if we don’t know everything.” So I get all flustered and embarrassed and mad at myself because, in my ADHD people-pleaser brain, the teacher just failed me in front of the whole class and now they all hate me. So I don’t say a goddamn word for the rest of the day, and the next day I leave without saying goodbye to that one woman, after leaving a glowing review in the exit survey. So the thing about this that’s really fucked up is that like two days before, I sat down with her and told her how I have a lot of specific trauma around rejection and failure, especially relating to my dad and how he constantly asserts that I don’t try hard enough or that I need to do better, shit like that. Like, that was a major theme with me the whole time I was in the program. It was like, getting over the intense rejection of my best friend/girlfriend running away with a guy she just met, and my relationship with my dad. That was it. (Of the two, the one there that’s still a major thing in my life is my relationship with my dad. At this point, she can fuck off with whoever she wants. I’m more pissed at her than anything else now.) So for her to turn around and embarrass me in front of the entire group like that, when there was solid evidence that a) I did know what I was talking about and b) I was having a very off day was really messed up. In thinking about it, there was quite a few messed up things that she did in the last week or so that I was there. Probably more during the rest of my time there but I don’t actually remember most of it because working on your trauma can be traumatizing itself, go figure. Anyway, I had almost completely forgotten about that until earlier today when I was thinking about how I was getting much more sensitive to rejection and perceived failure recently than I was before all this had happened. Part of it is probably my increased estrogen dose fucking with my mood, but the majority of it, I think, stems from that one incident of her pretty much violating my trust and invalidating me in front of like twelve people that I really trusted and felt close with. Fucked me up, yo. Anyway, so I leave the program and start working for my dad at his machine shop. Things are going super well, I’m making a fair bit of money, keeping in touch with my friends as best I can, and doing my best to avoid my ex harassing me further. About midway through December I change my phone number so that he’ll stop calling me (he had several ways to get around me blocking his number), and in the middle of February I change my name on Facebook so he won’t be able to find me and send me more message requests, cuz there’s no way to stop that from happening either, and the police were useless because “I wasn’t in any physical danger.” At this point he had moved away from my town, presumably back with his parents but I don’t really know, and I really don’t care. So he messages my siblings on Facebook trying to get my phone number, and then somehow finds my Facebook again and sends me a picture of him cutting his wrist. So I get fed up, go to a local domestic violence prevention nonprofit, talk with one of their advocates, and file a restraining order against him. It gets approved, and the messages stop. A court date is set for us both to meet with a judge to discuss everything and see if it needs to stay in place or not or whatever, and for about 2 weeks everything is great. Then covid-19 starts hitting. I get what was probably just the flu or a cold or whatever a few days before the court date. Then the state that I live in announces that most court hearings are postponed until mid-April. I check on the website and find that stalking and domestic violence, among a few others, are exempt from this and will be going on as scheduled. Because I was recently sick, I call the courts the day before and ask if I can appear over the phone. They say yes, it’s all good, great. So the next morning I call in and things get moving. It turns out that my ex didn’t show up to the hearing, even though he definitely knew about it. So I talk with the judge for a few minutes and we decide that I don’t need the restraining order anymore because he’s not likely to start harassing me again, and if he does I can always get a new one or get the police involved. And so far I haven’t heard a peep from him so I’m assuming that chapter of my life is closed for good, which is excellent. But then more things start to close down, and my dad basically tells me that he doesn’t really need me at work and it’s best if I stay home. So since then I’ve been staying at home. It’s been 15 days total that I’ve been home, with only minimal trips to work for an hour here and there. And I really don’t do well with isolation. It’s not all bad, because I live with my parents, so I have some social contact, but as was mentioned above I don’t exactly get along with my dad, I don’t have a lot in common with my stepmom, and my grandmother is a grumpy old lady who isn’t very good for conversations about much else than knitting and Jeopardy. I’ve been doing my best to stay in touch with folks online, and it’s been decent, but it’s still pretty rough. And when Animal Crossing came out and all of my friends started playing it, I started feeling even worse because I’m poor as shit and don’t even have a Switch, and they’re fucking $400, which is a whole student loan payment for me. So I’ve been pretty miserable the past two weeks. To top it all off, I have to register for Fall classes next week, and I don’t think I can even imagine that far into the future right now. The world is supremely fucked, and there’s almost no way that I’ll even be able to afford to go back to school. I’ll probably have to drop out entirely. For at least a few years. And I’m really not ready to give up on school right now. Like I said above, I’m really sensitive to failure, and this is the third time I’ve tried, and failed, at college. And I’m getting real frustrated about it. The first time it was my ADHD, which at the time was undiagnosed. The second time it was mental health and my asshole ex harassing me. Now, when I finally have my ducks in a row, it’s money. The one thing that no amount of treatment or medication or court hearings will change. Plus there’s all the political bullshit going on still, and the impending collapse of society as we know it, and any number of other global crises (yes, that is the proper plural of crisis) going on. Oh, did I mention I’m an empath and the moods and emotions of the people around me, and of the world in general, pretty heavily impact me? I’ve been able to tell when some massive tragedy occurred even before the news story breaks. So yeah, all in all I’m doing about the worst I’ve been doing since high school before I was on antidepressants, and it’s really hard to see any end to this tunnel. I know I’m one in several hundred million people who are struggling right now, and I’m lucky that I’m at least moderately healthy with a steady place to stay and things to eat, but goddamn if things aren’t shit for me right now. Like I said, I’m not looking for any kind of response, and if you even read all of this I’m legitimately surprised. I just needed to put this all down somewhere because keeping it in is getting to be almost too much.

Don’t worry, friends. I promise you I’m safe. I’m just scared, lonely, and really lost right now.

I love you all.

[orionsangel86]

Episode Review - 14x01 - Want, Everything, Sunshine, and Beyonce

Hellatus is over everyone! Put away the crack memes and shit posts and bring out your meta caps because we are back in business! Oh boy are we back in business! 

Right before @tinkdw came over to watch the premier with me, we discussed our expectations and both agreed that whilst our expectations were pretty much in our boots, we would consider the episode a success if it was even remotely meta. We wanted to be able to see clearly constructed themes both as a continuation of what had come previously and as a foundation for a strong season going forward. We were both hoping that at least from a meta perspective, that the episode would leave us happy and thirsting for more.

Dabb did not disappoint us.

It was such a strong episode meta-wise. There is a lot to pick apart that is ripe for discussion and I seriously hope that Dabb will keep a close eye on the other writers to ensure that these themes continue throughout the season. Plot-wise it was a weaker episode, but then again Dabb has always focused on the character emotional arcs more than the actual plot points in recent years, and I am grateful for that. The second half of season 13 felt stagnant to me simply because there was little to no character development and from a meta perspective it was also extremely weak. I went into this hellatus feeling negative about the show simply because I hadn’t actually enjoyed an episode properly since 13x12. However, the season 14 opener was most definitely enough to quench my thirst and get me excited for the coming season. Fingers crossed it goes from strength to strength.

Long review under the cut

Michael!Dean - What Do You Want

Straight in after the introductory Nyoooom of Baby (driven by a grim looking Sam and a pretty impressive swap from title music to diegetic music), we are introduced to the angel of the hour. 

8 Things about Michael:

1. I am not sure how I feel about Jensen’s performance right now. He is playing Michael extremely straight and whilst I can see how this cold, calm portrayal can come across quite terrifying, it’s not a carry over from Christian Key’s performance. I don’t want to be too critical, because we only saw him in a few scenes so far, but when I compare it to how Tahmoh portrayed Gadreel alongside Jared, and the way Misha pretty much nailed Mark P’s performance (and greatly improved it), I guess I’m still waiting for Jensen to WOW me in the role. The one thing I will say is that he did terrify me and managed to come across creepy when acting alongside his own WIFE. So he's doing something right I'll give him that. When Jensen wants to have chemistry with someone, he does.

2. I like the fact that Michael’s goal right now seems to be to educate himself on our world. He’s not running around causing terror and mayhem like Lucifer, he’s learning how best to go about “improving” the world. He also appears to be inspiring people with his words: “Holy men, leaders, killers” and we have seen the effect he had already on Kip the Demon - who was inspired to run for King of Hell until Sam Fucking Winchester ruined that plan. I wonder if we will be seeing the fallout of Michael’s specific type of inspiration throughout the season.

3. “What do you want?” Obviously this question is an important one. It was repeated like six times throughout the episode, though never to the main characters. It looks like this is going to be the theme of the season and as far as TFW’s personal journey’s go, this is now the question we are asking them and the question being explored. What does Sam want? Or Cas? Or Dean? This has an endgame flavour to it that has me extremely excited. 

4.Michael’s own personal want of “A better world” is a follow on in a way of many of the villains that have come before him. For seasons now we have been exploring this concept of improving the world for the better. We had it first in season 8 when the brothers had the goal to do the trials to make a world without demons, in season 11 Amara’s vision was to destroy so she could reshape the world to her own blueprints that she saw as better than Chuck’s. Dabb era has been even more obvious, first with the goal of the British Men of Letters being “a world without monsters” which was shared by Mary wanting a better world for her boys, and then in season 13 Jack’s arrival floated the idea of “paradise world” to Castiel. I don’t think Michael is gonna fair any better than any of these others, and wonder exactly where all these escalated versions of “a better world” will end up. It's all exploring the notion that nothing is black and white, but in fact a grey area.

5. I already discussed Michael and Sister Jo here. Cas mirrors... Cas mirrors everywhere... I also side eye the "pretty things" line because it reaks of Dean and his whole sublimation thing. In that sense it seems Dabb is making Jo a mirror for both our boys. I'll be keeping a close eye on her from now on.

6. ”Why would he say yes to you?” “Love”. OH DEAN. Just, Dean wasn’t in this episode but my god did we feel his presence RIGHT HERE. And to think there are people out there that still think this is a macho mans show about macho manly men. I’ve never known another character with more heart than Dean Winchester. This show is about LOVE above all things. I wish people would stop trying to deny that fact.

7. Radioactive Pigeon:

Look I’m not trying to be critical okay it’s very pretty and this is the FIRST time they have attempted showing an angels true form and that is amazeballs and all, but still. He has little pigeon wings and a bent halo. Pfft.

8. The Purity of Vampires. I actually love this. I think it comes across a bit silly on the surface, but the whole idea of monsters being pure is a massive callback to purgatory and season 8 and anything that calls back to season 8 makes me happy. 

Sam Fucking Winchester

Excuse me while I scream HELL YES. I have been waiting for Sam to take on the leadership role for AGES. Honestly this was always my dream endgame for Sam. To organise and lead the hunting community. There’s your better world guys. It was something that the writers flirted with in late season 12, but at the time Sam only took on the position with Dean’s approval and encouragement to go ahead. Sam has always stepped back and let Dean take the lead throughout the show as the big brother and parental figure. I think this was always a role he was destined to fill and something that has been building in the subtext for a long time (much the same way as the toxic codependency has been shown to hold Sam back.) 

What’s of interest here is what will happen when Dean comes back and is fighting fit. Will Sam relinquish his leadership position to Dean? Or fight for it? Will this cause conflict? I read this amazing meta on this which turned into an epic discussion and I highly recommend reading it. My HEART.

Sam’s state in the episode is one of constant motion. He cannot stop for a second, always being pulled from one thing to another. He doesn’t sleep, he doesn’t get to change out of his hideous blue and orange shirt (which is officially now my favourite Sam shirt), he doesn’t even get to finish his soup. I know Jared said that Sam had a ‘grief beard’ but Tink and I are adamant that the beard is simply due to the fact that Sam doesn’t get the time to shave. He has taken so much weight on his shoulders and in amongst that has to deal with horribly traumatic things such as face the face of his abuser and actually be a healer to him. Sam doesn't get a moment to himself and spends all his time concerned about others. It's very noble of him, but he's going through the motions.

Sam is the contrast here to both Cas and Dean, who are physically and mentally stuck in their awful situations. Sam is also stuck in a way, stuck with no time to actually contemplate the situation he has got himself in. Stuck without a moment to breath, or to grieve his brother. Stuck holding the weight of the world on his shoulders as every other single character looks to him for support, help and guidance. Sam is the motherfucking Beyonce of the episode, that is for certain.

He is also calling the shots on hell now...

(x)

... I find it amusing that back in the early days Sam's destiny was to be the boy king of hell, and it's almost like he's fulfilled that destiny, not by being king, but by being gatekeeper and in a position powerful enough to scare the demons into submission. This is probably what Crowley intended. Sam probably owns the moon now.

About Nick - Well, first of all, I TOLD YOU SO. I did say that I could tell the guy from the back of his head and I was damn right about that. Learn to trust me guys I am occasionally good at this stuff. Okay, now that that is out of my system, let’s talk about this. Round of applause for Jared in this scene. Because he takes Sam’s hell trauma extremely seriously and made sure that every nuance, every twitch, was picked up by those camera’s. I loved that. Potentially Nick could be a good way to help Sam heal in the coming season, as Sam has finally freed himself from Lucifer’s grasp. Is it fair that he should have to look after the face that tormented him for years? No. Not at all, but could it prove somewhat cathartic in the end? Maybe. 

At the end of the day, Dabb must have considered Nick to have a purpose beyond “I want to give Bucklemming something to play with so they don’t fuck up my actual story” and “We need to keep stroking Mark P’s ego for some stupid reason”. Because otherwise I am really worried about how limited his power must be, and refuse to entertain the thought that he was overthrown by Singer and his horrid wife. I can see the potential in Nick being a dark mirror for Dean following his freedom from Michael’s possession. How Nick deals with the post possession trauma could be an indicator to how Dean is really coping even when he buries it.

At the same time, both Sam and Cas have been possessed by Lucifer, and therefore have all the experience between them to help Dean’s recovery without needing Nick to get involved. So I dunno guys. I’m trying to see the positive in something I otherwise despise. 

Anyway I thought Jared was fucking superb in that scene and pretty much the whole episode and want to give him a round of applause because it is rare that he truly gets to shine on his own without Jensen by his side.

Now all we need is for Sam to get some sleep. How he is still functioning by the episodes end I will never understand.

Castiel Everything Winchester

(x)

Look at him. So defiant and done. You can almost imagine that fire behind him burning in his eyes as well. He’s such a dom.

Several things about Cas in 14x01:

1. He is 100% done with every demon on the planet and doesn’t give a fuck. Honestly though. The way he says “Oh God” when Kip walks in. The way he rolls his eyes. I wonder if he had Dean’s voice in his head saying “You know who wears sunglasses indoors Cas? Douchebags.” 

2. He is making desperate choices in order to save Dean, which is certainly typical for him. The fact that he spends the entire episode stuck in a chair is a fantastic metaphor for his whole feelings on the situation, a metaphor then reinforced through a mirror at the end when he speaks with Jack (we never get anything explicit with Cas do we?). The fact that Cas can’t save Dean right now is weighing on him, but he is determined to do whatever it takes. The conversation he has with Sam at the end is a brilliantly short but important moment:

“I should never have gone to those demons”

“Cas no I don’t blame you. honestly I wish I had thought of it first. If it meant finding Dean I’d work with.. I’d do anything.”

The takeaway here is that actions speak louder than words. Sam HAS been distracted being leader of the hunters and having to face his own nightmares thanks to Nick, but Cas has literally been doing anything he can with a soul focus on saving Dean. 

It's an intimate moment between them. In a bunker now bustling with life and movement this is the only time in the episode that it really seems still. The library has always been Sam's private space, where he feels most at home - like the kitchen is for Dean. But here he and Cas sit as equals together weighed down by their shared grief. It's the soft moments like this that I love the most about this show. They are both willing to do anything they can, but the difference is that whilst Sam is being pulled in lots of different directions, Cas’s sole focus is Dean. Note that heaven wasn’t mentioned once. It hasn’t even crossed his mind.

3. Everyone Knows, but Cas doesn’t give a shit. 

“How is it you lost Dean, I thought you guys were joined at the... well you know, everything.”

It is an extremely explicit nod to Destiel. It is also the first time a line like this has made it into an episode since season 7 I think. The difference now being that we’ve had years of steady subtext and narrative building on the love story, hence the line has a different weight to those previously. It was very carefully written, careful not to imply that Cas was joined to BOTH Winchesters as the line was specifically about Dean. It was written by the showrunner, who would have known the significance of such a line, it encourages the view that all of heaven and hell have made their own assumptions about Dean and Cas’s relationship, and in case anyone wants to argue that the missing word was “hip” like the saying goes, the gesture and nod by Kip goes to prove otherwise. In other words, there is no platonic interpretation. Which is delightful.

Cas’s completely stoic silence is even more delightful. God I love him.

4. He can’t see demons true faces anymore. Like everyone else, Cas not realising those people were demons really threw me for a moment. Tink and I both agreed that the scene should have had Kip snap his fingers and have the demons smoke in and possess all those people instead - still catching Cas off guard but not making it seem like he is just super unobservant. I personally feel like this was just an error Dabb made. I have no desire to try to meta explain that one and I accept it as the error it is. I do like that it took an entire room of demons and 4 sets of enochian hand cuffs to overpower him though...The fact that he had to sit there and watch his family be beaten and almost killed around him whilst he was helpless again, is an excellent parallel to Dean’s current situation and what he will most likely have to face in the coming episodes, and also a reflection of Cas’s mental state (as mentioned above), Coming out of this episode it seems like this will be another season where Cas and Dean mirror each other and walk similar paths in terms of growth and development - if only those paths would meet with a kiss!

5. He’s the bait. Tink found this line hilarious straight away, where as I had to blink and ask why because I obviously took offence. But once we started discussing it and realised the quadruple entendre it is I found myself applauding Dabb on his genius. Cas IS used as bait, by the SPN PR people. Because he’s Mister Popularity. He’s also the character who causes the most conflict in fandom, with those who love him so much they are bitter and mean and those who simply hate him often complaining about the exact same things but in different ways - leaving the regular fans stuck in the middle (Tink explained this to me with delight - how both anti’s and bitter!cas girls alike will latch onto that line for completely different reasons). He’s also potentially a queerbait depending on how you look at it. But anyway. Cas’s epic eye rolls in this episode were almost enough to rival Sam’s bitchfaces. I am impressed.

6. He takes no pleasure for himself. I am forever going to obsess over Cas’s relationship with human food and drink:

“Coffee has no effect on me.”

“Me either, not anymore. But its like with saltwater taffee or infants, you know I just like the taste”

Although we can argue his refusal is out of stubbornness to not give the demon the satisfaction, even when accepting drinks from the Winchesters he doesn’t usually bother, or will stick with water. Even if he is seen ordering coffee it is usually only to avoid looking suspicious in diners. We know Cas enjoys some food and drink, but Cas rarely allows himself the pleasure. Even in 13x14 when Dean offered him a beer, it remained unopened. A symbolic metaphor for Cas refraining from indulging in other pleasures? This is why I am so so desperate for Michael to ask Cas what it is HE wants. Lucifer stated that Cas was a “pleasureless dullard” and I want to see this theme continue. Cas uses his grace as an excuse not to indulge and I consider this linked to meta about the “sacred oath” of heaven and Cas being duty bound and numbed by his grace. But these are all elements for a bigger meta at another time and the moment in this episode is just another snippet of that.

7. He looks awesome framed in fire. I just really liked the set up of Motown Meats as the new hang out for hell, with its fire pit and orange glowy bar. There is a lot of general symbolism there but I enjoyed the flames framed behind Cas in every shot he was in. Because even though he was mostly stuck in this episode, that fire raging inside him didn’t burn out once. He WILL save Dean. Just as he promised to Jack at the end, even if he get’s battered, beaten and bruised, his determined stubborness to save his husband will win eventually. Cas is no longer the broken thing of seasons 11/12. He well and truly rose like a phoenix in season 13 and now it’s showing through, as it’s a mission fueled by his own passion and love.

Jack Winchester (AKA my nougat son)

Poor Jack, like his father he hasn't had it easy in 14x01. He is struggling with his humanity now, his usefulness, in such a clear mirror to Cas that it kinda hits you in the face. He is desperately seeking guidance from those around him. First in the form of AU Bobby who has clearly bonded with Jack following their experiences together in apocalypse world.

It is great to finally see the Bunker gym! A room we all have ingrained in our fandom hive mind thanks to a 100 destiel fanfics. We all know what's gone on in there. >.>

Throughout the episode, Jack seeks out guidance first with Bobby, which goes badly, then with Sam, which is interrupted, and finally with Cas, which is when he finally gets told what he needs to hear. I am really happy that whilst Jack has so many father figures now, it is Cas who truly holds that torch and is able at least somewhat give Jack what he needs near the episodes end. If only he had damn well given his son a hug!

I loved the conversation so much that I transcripted it here:

JACK: I’m fine.

CAS: You did well

JACK: All I did was get punched. In the face

CAS: To be fair we all got punched in the face

JACK: That’s not - Before when I had my powers I could have done something

CAS: Jack you don’t have your powers, and your grace should regenerate in time, but until then..

JACK: I’m useless. I cant kill demons I cant find Dean and Michael is in our world and I cant stop him.

I can’t do anything. I don’t have anything.

CAS: Oh Jack. That’s just not true. You’ve got me. You have all of us. You have your family.

And we are going to find dean and we are going to beat Michael and we are going to do it together. Because that’s what we do.

This whole conversation was PERFECT. Every line chosen so specifically and weighted with meaning. Urgh Dabb I fucking love you for this.

Jack starts with “I’m fine” which Cas knows by now means you are not fine but he has also learned to recognise that sometimes it doesn’t mean “leave me alone” as Jack was crying out for guidance and support here. 

The mirrored “got punched in the face” calls to attention the fact that Jack is a reflection of Cas himself here and everything he has felt both now and in the past.

Jack’s complaint about being useless without his powers is a fear Cas has carried with him since his fall in season 9. It’s something that still weighs on him and whilst Cas now knows his place by the Winchester’s side, knows that they are a family and that he is not just a hammer, I think that fear of losing his power and being cast out is still well and truly weighing him down. It will be cathartic for Cas to see the family accept Jack as one of their own even if he is “useless” and human. 

Cas’s “That’s just not true” when Jack says he is useless - his voice breaks and you KNOW Cas has had those exact same thoughts.

“you’ve got me, you’ve got all of us. You have your family” compared to You’re my family, I love you, I love all of you” compared to “We're family. We need you. I need you.” The difference is there is no ambiguity in the word ME. Dabb turned it around, but had Cas clear it up. It’s the same line every time. The only difference is the placement of each individual statement. If this isn’t yet another clear example that the “I love you” was specifically directed at Dean I don’t know what is. THIS IS A CONTINUING PATTERN PEOPLE.

The determined promise to save Dean at the end, right after he specifies the singular and plural because obviously Dean was on Cas’s mind at that point - Mister I Don’t Get Words Wrong over here knows exactly what he means.

I love this whole conversation, but as I said above, it drums home the fact that whilst the Winchesters and others may be sources of guidance and support for Jack, he only has one true father, and I think Dabb wanted to make that clear in this episode. Remember:

Fingers crossed for more father/son bonding between these two in future episodes.

Mary and Bobby

(x)

Baring in mind I was expecting 1 small Destiel moment in the episode in the form of a line from a demon. You have NO IDEA how happy this moment between Mary and Bobby made me. If anyone saw that inktober pic I drew for premier day of me and Tink gasping in shock at the screen, it was for THIS moment. My face lit up in delight.

I said at the start of this long review that Dabb picked his moments well. With every second counting from a meta perspective. This was one of those.

Tell me, anyone, when watching that moment, would you deny that there was something between Bobby and Mary? As homework I'd like you all to play this scene to your heteronormative friends and family, or even be brave and ask a bibro. Would ANYONE deny that it was intended to be romantic?! I highly doubt it.

And yet there was nothing textually explicitly romantic about it. There was NOTHING in this scene that hasn’t been filmed a thousand times between Dean and Cas. The fact that Dabb chose to write this extremely small seemingly unimportant moment, in the kitchen, and for Bobby to use THOSE EXACT WORDS. As I have mentioned several times already, Dabb doesn’t fuck around when using well known moments from past canon in order to reinforce the importance of a thing. Dabb LOVES parallels. He wrote Bloodlines after all. He also knows the fandom hive mind and the things we pick up on and latch on to. This was a very smart calculated decision to include this in the episode and I am LIVING that he did it. GIVE ME ALL THE BOBBY x MARY/ DESTIEL PARALLELS. 

...

I actually really liked Mary in this episode. There is so much discourse in fandom about her and whilst I find Sam Smith pretty cold and wooden, I have never understood the utter hatred of Mary as a character. Hence why I praise Dabb’s genius at this moment:

(x)

Because this line literally sums up her entire arc since her return. Tink and I paused the episode and basically flailed at each other because this is EXACTLY what Mary has been trying to do. She was in HEAVEN, with her BABIES and suddenly she is back on earth with two grown men who are strangers to her, telling her they are hunters and have suffered a life of HORRORS without her. So she ran. Hell, I would have ran too. She shoved herself into hunting because all she could think about was trying to make things GOOD for her boys. Trying to FIX her mistakes the only way she knew how: by HUNTING. She was drowning in the bad. So she found focus in trying to make things good. Like in this episode, she reassures Sam so much that he snaps at her. He doesn’t want to be reassured, and that’s fine. But my god this felt like the first time Mary has truly had a voice. I really weren’t kidding when I said that Dabb made sure every word counted.

OTHER THINGS

I am unsure how I feel about the title card:

Tink called it. I think it looks a bit odd, a bit too clean. I like the title cards to be grim and dark. Black angel wings though! And hey, at least the fiery halos in the title cards are perfectly spherical... so we know they CAN do it right...

*side eyes SFX team*

Kip as a wannabe Crowley was kinda fun for a one off episode but I am glad that they are stressing now that wannabe Crowley’s get killed. The last one we had was Bart in 13x08 who was very much the same flirtatious queer coded demon. I’m fed up with the villainous queer coding by now. It’s been done too often. Give me another Demon like Alastair or Ramiel or none at all.

“Asmodeus Kentucky Fried” DID ANYONE LIKE ASMODEUS OTHER THAN BUCKLEMMING? This made me LOL.

The fight scene at the end was really weird and overly long. I dunno why they decided on so many random slow mo and wooosh shots. the whole Mary slow mo throwing the blade at Sam was cringy. I wish they’d stop being experimental and stick with what they know! You think they’d learn after 13x23!

Maggie was a bit annoying. Why bring her along if she can’t fight? Also the random cuts to her reaction after Jack was angsty had me reeling. simply because in het couples that’s a brewing romance and that is a massive NOPE from me. I like her as an individual character, I DO NOT like her as a love interest to a 1 year old, and I certainly wouldn’t like some pining story for her where she falls for an unavailable guy. It’s not fair on her character. The one thing I did like was the “pointy end” comment. It reminded me of Charlie for some reason.

The throw away line about Ketch being in London looking for the golden egg Lucifer/president extractor. Nice closing of a plot hole there Dabb.

I liked the Jesus weapon expert hunter dude. He seemed quirky. Dead man’s blood bullets are an excellent idea. 

DETROIT. Why does everything always happen in Detroit? I swear one day they are gonna reveal that Detroit is like a central universal power hub where the walls between the dimensions are thinnest or something. I could go on about this but I am sure a better meta writer elsewhere already has and this is waaay too long so I’m leaving this here.

If you got this far. Kudos and thank you for sticking around to read my thoughts. Feel free to ask me anything about any of the above. If I could hand out cookies through the internet I totally would right now.

Basically I enjoyed the episode. I have since re-watched it a dozen times and it is really the meta of it all that makes me love it. The story IS weak, and there ARE moments that are a bit odd, or infuriating depending on the way you look at it, but the heart of the episode was classic Dabb. All character driven and full of meaning. I am extremely well fed after this meta feast, perhaps even enough to get me through the horror show that will be Bucklemming’s 14x02. 

So long as Cas continues to look like a sexy beast I’m sure I’ll get through it.

I’ll just leave this here:

God he’s such a dom. :P

[tintentrinkerin]

Cathartic Arrest

Part one of ‘the fortress that is your soul’

Rating: Mature Pairing: Sam/Dean [neither romantic nor sexual; yet] Tags: Jealousy, Post-Hell Dean Winchester, Post-Lucifer’s Cage Sam Winchester, Dubious Consent, Codependent Winchesters, Punishment, Caning Summary: Sam needs to cope with memories of Lucifer's abuse. Dean is still trying to cope with this time as torture Master in Hell. And he's JEALOUS. Word count: 1.7k

Read under the cut or on AO3

Sam was still shaking when he got back to the bunker. He had taken his time before he came back home, but still. This time, it had all been different. She had to help him back into his pants, his shirt, even tuck his shirt in, help him ground himself; when he still didn’t come down from what just happened, she made him sit in her “calm room” as she called it.

She gave him food, good food. Fruits. Pineapple, strawberries, vanilla infused yoghurt. Juices of passion fruit and apples, bread with butter and some lean chicken tenders. He could choose whatever music he wanted, but all he ever would choose was hard rock – the music of his childhood, part of his youth and part of Dean. The music in his ears, usually is of a different, much more intense nature. He’d tried pop. One Direction. Too happy. He’d tried Nu Metal. He was too old to bounce back into his emo stage, also known as his years at Stanford. He had tried all kinds of metal. Trash, Death, Melodic, Symphonic. Nightwish. Later Aesthetic Perfection. All good music, quality wise. But nothing was ever louder than the noises in his head. The crying of baby Sam Winchester, inner-child Sam Winchester. Traumatized and angry and helpless.

Only the noise of a cane meeting his skin, his ass, his legs, even his feet, his own painful cries, the muffled grunts, the thank you’s and the yes'es, the reenactment of his shame, would silence the child. It’d been rough today. The wax on his chest left pink swollen spots, the cane beat him bloody this time.

“I can stop, aye?” she said.

“No, Mistress. Don’t. I want it to bleed.”

She’s not his Domme and he’s not her Slave. It's all about pain. He isn’t that twisted in his mind to reenact the power exchange, his own powerlessness. Michael watching. Michael. That god forsaken coward.

Sam was still shaking when he started Baby’s engine, slowly rolling away from the place he visits when pressing on his scar stops working. And it’s been working less and less and less. Until nothing else will help but being beaten up by someone to finally overcome the pain, the helplessness, the feeling of being weak and useless. Sam Winchester might be broken, but he still can take a beating without crying.

Dean hates liars. Which is kind of, let’s say hypocritical, given his nature, his past. He lied to Sam about hell, he lied about the deal, he constantly lies to the only person who will probably never leave him. Because even if Sam does leave, he always comes back. He won’t even die for good. Dean doesn’t, Sam doesn’t. They’re here, two moons in this earth’s gravitational pull, doomed to circle each other; the forces of nature keeping them in place but always keeping them apart.

It's one of those days when Sam says he’s about to go jogging, but since when does he have to drive fifty miles to some secluded forest area to jog when they're in the literal middle of nowhere? Dean has seen Sam in the showers. They have their privacy here, both want that or pretend to, but the showers are group showers, long lines of shower heads like in school gyms. They usually lock the doors, so why, this one time, does Sam not lock himself up like he used to? Dean knows about the nightmares, the triggers, the sudden flashbacks and the pressing of Sam’s thumb against the palm of his cut hand. He noticed cuts, deep cuts around Sam’s wrists, that never heal because he keeps on scratching off the scab. The bleeding never stops.

Dean decides that today, enough is enough. He knows this trauma, he was in Hell too. He tortured innocent people, he tortured Bela fucking Talbot. A woman he really respected in the end, though he sugar coated it with cunt-y behaviour. He’s seen so many faces twisted in pain and agony – and all they do in the end? – cry for mama. They cry for their fucking mother, and Sam? Dean wonders who he cried for in the Cage?

Sam is packed up in his “jogging outfit” and he’s about to leave, when Dean gets up from his armchair in the library.

“Where ya goin’, Sammy?”

He jumps.

“Jesus, don’t scare me, man. Really? I’m going jogging.”

“There’s a whole ass forest in front of the batcave, Sam. Why not go there?”

Sam looks down and Dean knows, he’s angry. He’s angry because Dean caught him in his damn lie and there’s no good way out of it.

“I have a jogging buddy over there,” Sam clears his throat, his whole body is tense. Ready to run. Wherever.

“Ah, jogging buddy, I see. Lemme guess, their name is Mistress Lana and he looks bomb in tracksuits.”

Sam is about to erupt and he grows, his posture straightens and he yells. “This is private Dean, you have no, absolutely NO right to spy after me like a--”

“Like a what?”

“Like a fucking jealous wife who caught me in an affair?”

Dean falls silent, but his body, pure, condensed power, anger, fear, slams his arm against Sam’s throat and presses him to the wall.

“It is exactly like that. You drive an hour to see a dominatrix, to what? You become a subby bootlicker all of a sudden? You like that?”

Sam’s nostrils flare and damn, now Dean is on freakin’ thin ice. He is so goddamn jealous of this woman giving Sam something that Dean would give him freely. And happily. He would give him the relief he needs.

“Don’t talk like that!” Sam hisses, trying to wind himself out of Dean’s grip but he’s still sore from the last time Lana tied him up like a Christmas present and hung him on the wall like a pig-half at the butcher’s. Sam loved the marks of the rough rope, loved the feeling of just hanging there, floating, the ground beneath him so far away, the rock bottom so far…“You have no idea how I feel!”

Dean’s head tilts to the side. “I tortured people in Hell, Sam. I know how to make you feel the worst pain of your life – but I can also give you the greatest relief. I can show you mercy, because that’s what you really want. Isn’t it?”

Sam finally breaks free and attacks Dean, one hit after another, breaks Dean’s nose, gives him a black eye, and it only stops when Dean lands a blow right over Sam’s kidney – he staggers back.

“I deserve the pain,” Sam wheezes. “I don’t rely on anyone’s mercy.”

Dean drags him up and brings Sam, who is suddenly so pliant, to his room. What no one has ever known about is the secret door. Dean’s not a witch, Sam would be a great one, but Dean managed to hide a tiny little torture chamber behind his room. Sam fights, he insults Dean. Dean knows, yes he knows, it’s Sam’s way of provoking him and, kind of, making Dean stop.

Sam knows that, when he came back from Hell, Dean fucked around even more than before he’d died –but no one ever saw him with the girls, the submissive ones, the broken little dolls he found. This is Deam’s coping. Reenacting Hell.

Sam clings on to Dean when he’s tied to the bench, naked. Sam is still black and blue, some of his bruises had turned green-yellowish already but no one should hurt him there again. These bruises would take ages to heal, if they’re lucky, without a doctor needed. Sam isn’t fighting anymore, he’s crying.

“Please Dean, take it off of me. Please… I can’t… Take it OFF!”

“I can’t”, Dean says, gently, brushing away Sam’s tears.“Does she fuck you?”

A gasp. “What? Why--?”

“Simple question, Sammy. Does. She. Fuck you?”

Sam nods, hiding his face in his hair and pressing his forehead against the padding. Dean is on fire, barely holding on. He let her. He really let her!

“I can’t spank you in this condition. You have to heal. Why would you go to that woman when you’re still so roughed up?”

“Why do you care?”Sam’s voice is so thin. Little, scared Sammy, and there was no one in the Cage to save him from what happened.

“Sammy.” Is all Dean says.

“My Sammy.”

Dean is not like that. He loves Sammy, and he would do a lot, but he won’t do That.

Dean’s favorite is his cane. Rattan. Unpeeled. Sam endures several hard blows, in a staccato, a rhythm other people would faint from. But Sammy is strong, and he wants to be broken.

HE

WANTS

TO

BE

BROKEN

And Dean is giving him that. He can think of the girls and boys in Hell while doing it, like he’s not the one inflicting this pain on Sam, but it feels so damn good. Purging. Sam’s cries and whimpers, his yells and finally, finally, when Dean is about to lose control and maul Sam alive – there’s the one Sammy would cry for.

“Dean.”

A gasp. The blows stop. Blood dripping down Sam’s legs.

“Dean.”

Again.

“Sammy..”

So gentle. So tender. So silent.

“Dean, I want to go home….” and that is truly when Sam is broken, the last bastion of his mind, his pride, his goddamn pride is stripped from him. He babbles, he cries, snot and tears and gulps, he even chokes on his cries. “I want to be home with Dean, please hold me, Dean, take me home, Dean…”

Dean dissolves. His own trauma resolves for a minute. He knows, it will never fully go away, he will never heal. But.

“Sammy. I’m here, Sammy. Come here. I’ll take you home, my baby brother. I’m here.”

“Dean, I love you”, Sam chokes out. It could be anything. It could be nothing.

“Sammy, I love you more.”

Dean leans onto Sam’s heaving, still tied up body, sweat and blood, tears, the sobs. When Dean releases Sam from the restraints and carries him to a sofa, he huddles up in Dean's lap. Like a newborn. Overwhelmed with the world outside, sobbing and crying for Dean. Dean is here, holding him tight. Offering him water and more blankets.

Lucifer has never been closer, but Dean has blown him away from Sam. He made Sam just forget for a while. It’s so fucked up, but he can live with fucked up. As long as it’s with Sam and Sam never, fucking never, goes to a whore again when he can have everything from Dean.

Dean will do anything for Sam.

“Dean…”

“I’m here. You’re home.”

»And I will never let you go.«

[janiedean]

between jaime and theon, who do you think has the more well written redemption arc?

well, counting that imo both of them have arcs that are more identity than redemption in itself... if you want the short answer: theon, because while jaime’s deals with redemption... it’s more a reversed redemption arc, as in, it’s not about him redeeming himself, it’s about him realizing he’s always been a decent person all along. now, I had ranted about the subject already once so if you want the full version focused on jaime there’s the meta, but going into it again and comparing it with theon...

first thing we should probably take into account when comparing them: as someone else who sadly deleted since then, these books have exactly TWO instances of people doing a truly selfless heroic knightly grand gesture and those instances are a) theon saving jeynep, b) jaime going into the bear pit for brienne, which says a lot given that they’re perpetrated by two people that everyone in the narrative (and a lot of people outside) see as oathbreakers/assholes/people with no honor;

now, before we go back there... the thing is that while I think theon has an identity arc first and foremost (I mean he has chapter names corresponding to his identities let’s be real here), but it is more or less straight-up redemptive in the sense that it follows all the basic steps, ie theon does something wrong that he regrets more than just about anyone else at this point (betraying robb), realizes where he went wrong and what he wants from life and decides to be better than that. now mind that with theon it’s strongly interlinked with the identity arc, because he saves jeyne (his narrative redemptive moment) after realizing who he is and who he wants to be and what he wants from life, while his bad actions/betrayal were rooted in the fact that he had an identity crisis and was desperately trying to be what he thought his father wanted/didn’t want to deal with that situation/couldn’t admit to himself that he had with robb what he wanted from his family (acceptance/love/someone caring about him for himself/his personality, not his surname or his worth as a hostage or only surviving male son etc.). now, never mind the whole deal where (still imvho) theon and robb are foils in the sense that robb’s damning (narratively) moment was marrying jeynew while theon’s redemptive (narratively) was saving jeynep, he gains the narrative redemption the moment he does something selfless (ie saving jeyne as in someone no one gave a shit about) regardless of facing death because that’s what theon would have done (remember ‘theon greyjoy would have helped her but not reek?), when we can argue that his betrayal and previous fuck-ups weren’t exactly selfless but more desperate ways to assess who he thought he had to be. except that when he does that he fucks up, when he does what he really wanted to he does the heroic deed, therefore showing that he has the potential to be a more than decent person (which is most likely what robb saw in him), so his arc is both about finding his identity and redemption through accepting it;

so like... we can say that theon’s redemption arc, while tied to his identity arc, is pretty much straightforward;

now, the thing with jaime is: he doesn’t have a straight up redemption arc, because tbqh the only thing he’s done in these books that he should be redeemed from is pushing bran from the window (like guys the incest is nothing you need **redemption** from technically especially since it’s an abusive relationship where he’s not the abused part and I’ll die on that hill, killing aerys was just good sense and he wouldn’t have lied about tysha to tyrion if tywin hadn’t pushed him to do it by the way that’s abusive/manipulative as well and anything else is... about on par of what anyone else in these books has done). what jaime needs is to realize he’s his own person and not his sister and find his own way, and that realization comes through coming to terms with the fact that the person he is at the beginning of the books is not the person he wanted to be when he was young but he still has the potential to be that person and he actively strives for it and tries to do better, which.... isn’t exactly **redemption** clear-cut;

also the rest goes under the cut because this is long af sorry I have feelings on these two.

like, to make it extremely basic: jaime starts as a generally good person. 

now, before anyone harps at me, I’ll take a break from the checklist to say that it’s the text specifying it - he’s the only one in the family who genuinely loves tyrion when no one else would, as genna lannister put it

"Jaime," she said, tugging on his ear, "sweetling, I have known you since you were a babe at Joanna's breast. You smile like Gerion and fight like Tyg, and there's some of Kevan in you, else you would not wear that cloak . . . but Tyrion is Tywin's son, not you. I said so once to your father's face, and he would not speak to me for half a year. Men are such thundering great fools. Even the sort who come along once in a thousand years."

he has the good qualities from all the other lannister uncles/relatives but nothing of his father (I mean she mentions his smile, his strive for honor and being a good fighter, that’s... positive qualities), he’s put at the opposite, or I mean, as tyrion once put it:

My brother, Jaime, thirsts for battle, not for power. He's run from every chance he's had to rule.

and this when it was made clear in book one from tyrion’s povs that his opinion of jaime and cersei was wildly different, which would be hard if they were the same person. also:

That boy had wanted to be Ser Arthur Dayne, but someplace along the way he had become the Smiling Knight instead.

like. that’s jaime thinking about what happened to him since he joined the kingsguard. seems to me like he has a clue that something went wrong there.

anyway, back to the point: jaime starts as a good person. and a good person who wants to do good things in life, as in, becoming arthur dayne, ie a knight without stain or honor, and we all know that technically knighthood = positive things;

what happens is that since he goes into the kingsguard his picture gets destroyed - he does it on cersei’s advice and that’s what kickstarts their relationship for good (because the first time they have sex is when she proposes it to him and he accepts both for that and because he wants that kingsguard place in his romanticized vision of it, and we could talk for an hour of the fact that cersei actually had hoped to marry rhaegar just before, so if it actually had happened he’d have ended up without his name/inheritance/position and without cersei but nvm that), then he takes his job and finds out the king is out of his mind, that he can’t protect anyone he should (rhaella), has to watch people get burned alive/strangled/raped in front of him, copes by dissociating (which is like, basic ptsd trauma symptom in war veterans and he was fifteen-seventeen at that point), his picture of honor/valor/knighthood gets destroyed apparently beyond repair, he kills aerys to save everyone else after being put in an impossible position (because he was the only kingsguard in the entire castle which was a fairly stupid decision if you ask me) and then everyone decides he has shit for honor and sees him as the worst without bothering to ask and at that point he says fuck it and embraces it;

as in: he turns into the smiling knight (as he put it) by giving in to cynicism/nihilism and only worries about cersei/his family and says fuck it to his romantic notions even if he desperately wants to believe it and actually if you read his povs, going beyond the part where he’s too world-weary for his own good..... like honestly jaime lannister has the emotional maturity of a seventeen-year old which is pretty much showing that he was so traumatized by what went on with aerys that he basically never moved on from that and coped with it by a) not thinking about it, b) being angry about it when he did, c) embracing what others thought of him like ‘well you think I’m that bad fine have it your way’, which is also... basically teenage angst level but again: he hasn’t moved on from that;

(this while being into a codependent toxic af relationship with cersei that about a) annihilates his sense of identity because he thinks he’s the same as her when he’s all the contrary and acts the contrary, b) is not sexually healthy because being like that with one person only and those premises is not healthy I mean guys fuck’s sake this guy is older than thirty and couldn’t process getting hard when seeing a naked woman, it’s a problem, c) doesn’t help him get out of his issues but actually makes them worse)

now, back to the matter: at his lowest narrative point he pushes bran from the window, except thatThe man looked over at the woman. “The things I do for love,” he said with loathing. He gave Bran a shove.now, everyone ignores that bran himself perceives that jaime said that with loathing, so he knows he’s doing something extremely shitty, but he’s embracing it as necessary in order to save his hide and cersei’s and also because he’s embraced this concept that whatever he does people will think him honorless so what’s the damned point?

then, after two other massive trauma episodes ie being imprisoned for an entire year and losing his sword hand ie his livelihood, he has to face what he wants and who he wants to be because the fact that he doesn’t have the hand a) takes his fighting skills away from him, b) takes what makes him cersei’s exact mirror, c) forces him to rely on other people in the immediate aftermath and the fact that throughout this whole thing he’s stuck with brienne ie someone who reminds him of the person he wanted to be and who actually manages to uphold those ideals and keeps on doing it regardless gives him a wake-up call and makes him realize that he actually... did still want to be the person he used to be;

so like..... the arc jaime is having right now isn’t 1) I’m a bad person, 2) I did something heinous, 3) I realized that and I repented, 4) I’m trying to atone for it, which is the technical redemption arc as it is and which is more true for theon than for him. the arc jaime is having is 1) I was a good person, 2) I turned into someone I didn’t want to be after traumatic events, 3) I did something awful also as the result of years spent not dealing with it and I regret it, 4) I lost a part of me that was to me 99% of what I thought I was good for, 5) I realized that I turned into someone I didn’t want to be, 6) I’m trying to do better and be that person;

btw, before the argument comes like BUT HE NEVER REPENTED:

If truth be told, Jaime had come to rue heaving Brandon Stark out that window. Cersei had given him no end of grief afterward, when the boy refused to die. "He was seven, Jaime," she'd berated him. "Even if he understood what he saw, we should have been able to frighten him into silence.""I didn't think you'd want—"  (mind that here it’s even BEFORE the hand loss and his answer is that he acted based on what he thought she wanted, now I’m not saying she is to blame but that since he was acting thinking that he was doing what she wanted then he didn’t act doing what he would have done if it hadn’t factored into his decision)

"Well, he's beyond suspicion now." Robert's death still left a bitter taste in Jaime's mouth. It should have been me who killed him, not Cersei. "I only wished he'd died at my hands." When I still had two of them. "If I'd let kingslaying become a habit, as he liked to say, I could have taken you as my wife for all the world to see. I'm not ashamed of loving you, only of the things I've done to hide it. That boy at Winterfell . . .""Did I tell you to throw him out the window? If you'd gone hunting as I begged you, nothing would have happened. But no, you had to have me, you could not wait until we returned to the city."

I mean, he says he’s ashamed of it, not me. but like, that’s someone trying to do better than before and wanting to be a better person and going past his trauma (and actually he matures a lot in between asos and adwd so it’s obvious he’s somehow gotten unstuck from his aerys-related issues);

so like..... going back to the point: theon actually wants to actively do something to atone for his betrayal or wishes he could, and while saving jeyne is not what he probably thought as in ‘atoning for having betrayed robb’, it was narratively, because the pay-off is that he’s free of his abuser, knows who he is and who he wants to be and has solved his identity issues and can only go forward. on the other hand, jaime isn’t seeing his previous misdeeds as something he’s actively searching atonement for, and it’s less clear-cut because theon is moooreee or less a straight line, jaime’s having to deal with wanting to act in a certain way but circumstances throwing him back (ie he wants to try and have a relationship with tommen, cersei sends him away; he doesn’t want to break his vow to cat but has to go to riverrun anyway; he doesn’t want to raise arms against them so he bluffs with the trebuchet baby which makes everyone assume the worst of him and works because of that, but on the side he tries to do better see the deal with pia, sending brienne to look for sansa actively going against cersei’s orders, freeing tyrion AGAIN against cersei’s orders and telling him the truth about tysha and so on);

but at the end of it: 1. theon is a generally okay person who has postured a lot as a defense mechanism while being a hostage, starts with an identity crisis that leads to his wrong/bad actions that eventually contribute to causing robb’s death (admittedly I think that the red wedding was a go anyway bc it was tywin scheming it but theon fake killing robb’s brothers > robb sleeping with jeyne > perfect excuse for frey to defect) and to his own torture and abuse at ramsay’s hands, he has to work through his issues, deeply regrets his actions, realizes who he wants to be and eventually does something heroic the moment he comes to terms with it as his big narrative redemptive moment.2. jaime used to be a good person who after going through heavy trauma has stopped giving a fuck about his old dreams and embraced his worst sides also as a coping/defense mechanism [while being stuck in an abusive relationship that annihilates his sense of self], did something heinous at his lowest point, underwent even more trauma that forced him to reshape his entire life, met someone who showed him he could try to be the person he wanted to be/was before aerys, regrets his actions but doesn’t specifically look for redemption through them but actively searches it after (as in: he doesn’t want to be redeemed for trying to kill bran but he still upholds his vow to catelyn and tries to save at least her daughter by sending brienne ie the one true knight in the room after her, frees tyrion and comes clean with him etc) and tries to be a better person all along;

this also is symbolized by when they have their heroic moments as described above, because theon saving jeyne is at the end of his adwd arc, which works as a good bookend for his story and for his identity arc, while jaime jumping in the pit for brienne is in the middle of asos/in the middle of his asos arc, so while jeyne’s rescue is theon’s ending point/crowning achievement, jaime’s rescuing of brienne is his starting point. he doesn’t do it as the crowning achievement of his arc - hell, his arc isn’t even over within asos -, and while it’s not the first thing he does actively post-hand loss (he saves her from being raped and tells her about aerys), but it’s the first grand gesture he makes and he doesn’t even know why he does it but he feels like he has to and goes for it without even blinking twice, while theon does ponder it. like, theon’s redemption (narratively) has been earned and he knows he’s done that:

"Don't you call him that." Then the words came spilling out of Theon in a rush. He tried to tell her all of it, about Reek and the Dreadfort and Kyra and the keys, how Lord Ramsay never took anything but skin unless you begged for it. He told her how he'd saved the girl, leaping from the castle wall into the snow. "Weflew. Let Abel make a song of that, we flew." Then he had to say who Abel was, and talk about the washerwomen who weren't truly washerwomen. By then Theon knew how strange and incoherent all this sounded, yet somehow the words would not stop. He was cold and sick and tired... and weak, so weak, so very weak.

like.... theon says to let abel make a song of that. he knows he’s done something song-worthy. he’s 100% aware of it, post-fact. jaime really is not - he doesn’t think of his bear pit moment as a song-worthy moment (but brienne herself does:“Ser Jaime?” Even in soiled pink satin and torn lace, Brienne looked more like a man in a gown than a proper woman. “I am grateful, but … you were well away. Why come back?” vsthe griffins on his cloak rippled and blurred and changed to lions. Jaime! she wanted to cry, Jaime, come back for me!, but her tongue lay on the floor by the rose, drowned in blood.like, brienne ie the person he saved has definitely interiorized it as A Total Song-Worthy Moment)and the fact that he ended it with the whole I dreamed of you thing which is honestly not the least romantic thing he could have said doesn’t mean that he hasn’t... gone for it knowing what he was doing, differently from theon, and again: theon’s grand gesture is what seals his narrative redemption after he finds out who he really is, jaime’s is what kickstarts his own search for the person he used to be and that he wants to be again and that he actually forgot/thought he couldn’t be, which... is the exact contrary of male!cersei as he has thought until now.

so like... imo theon’s a straight-up redemption arc within an identity arc that deconstructs a bunch of tropes (traitor first and foremost), jaime is a reverse identity arc which includes redemptive themes but where the driving force isn’t his need for redemption, is the fact that he needs to reconcile the person he has the potential of being with a) growing the hell up, b) detaching himself from cersei, c) finding his sense of self, d) overcoming his trauma. and while theon has in common with him the part where he has to find himself and overcome trauma, I think that his arc is really more redemption-driven than jaime. theon wants to atone and finds out he can because of the person he actually is, jaime needs to realize he’s his own person and to do the things he wants to, not what others think of him.

so, to go back to my first point: for this whole heap of reasons, I think that as a redemption arc theon’s is better because it’s... a redemption arc in itself, while jaime’s is basically second coming of age with redemptive themes so I wouldn’t call it like that. I mean, I hate this whole discourse about IS HE ON A REDEMPTION ARC OR NOT bc to me he’s on a self-discovering arc that includes doing things that redeem his past actions, but he’s not actively looking for it in the usual terms. that said I need to specify a few things:

I personally think theon in himself is the best written and conceived character in these books but that jaime is right behind him and they’re technically martin’s greatest literary achievements as characters so it’s not like if I say that theon’s better written I think jaime’s is badly written, ALL THE CONTRARY;

I also think that theon beats jaime for originality and identity arc (not redemption bc jaime’s arc is not redemptive imo as stated), but jaime as a pov is tbqh really a gem when it comes to a) dealing with military-like ptsd symptoms, b) long-lasting emotional abuse, c) using sarcasm as a coping method/defense mechanism, d) lessons in How To Not Deal With Trauma (ie not thinking about it), because while ofc there are parts that are not realistic (ie: someone with jaime’s background should have had a nervous breakdown of horrid proportions a long time before the series started tbh) the fact that people tend to brush it off without realizing it just because he looks fine on the outside tbh says a lot about how people overlook trauma in men when they happen to not show it in the reader’s face/in someone’s face (no one can deny it with theon and sandor, because they show it physically, or tyrion because he talks about it and he’s aware of it, and whoever usually gives it to jaime only says ‘ah it starts after the hand loss). and it’s not george’s fault because imvho he wrote it perfectly given that jaime himself isn’t aware of it, but I just find it very telling;

I think both of them are really great narratives when it comes to exploring reaction to life-lasting trauma and abuse (except that for theon is straight-up physical, jaime is mental/emotional) and both arcs in that sense are written really well;

I also don’t know how fair it is to compare them for the same themes also because jaime’s a fairly reliable pov (sarcastic but reliable, he's not the lying to himself type) while theon’s wholly unreliable/has a journey towards reliable-ness more or less but idk if we’re there so that’s that to take into account too;

I also don’t think anyone in these books has a clear-cut anything arc because it’s all tropes deconstruction and nothing is ever played straight-up, so... again, that’s the opinion but I don’t think it says much as a whole because neither of them is a redemption arc that follows the tropes (I mean theon’s is straight-up but his kinda character - ie traitor who betrays the hero - is not usually given it, but I ranted about it in the above meta).

... this probably went way beyond your question, but here, have a rant.

[marilyngogosworld]

Single life Epiphanies 

At some point in your life you come to a realization that you inevitably and will forever be alone. Alone to walk this earth and you better figure out how to love yourself or else it's going to be such a torturous rest of your life now isn't it.  

Looking back at the many relationships , how different they were in their entirety . Some healthy, most not. Somewhere I was stronger as far as knowing who I was and where I stood, but sadly most morphed into an abusive and codependent relationship. Leaving me mentally, emotionally and sometimes physically broken down to a mushy pulp of a person. Forced to get back up , try and bandage up myself as best as possible and just keep going. That was the only option. Just keep going .

Now I don't know if it was my utter stubbornness that kept me in the revolving door of repeating the same mistakes, or straight up denial that even now it's awfully painful to even type out the truth that my abuse began way before dating age . And my brain was hardwired since childhood to repeat this destructive recurring cycle. And I suppose I would have kept repeating this cycle of self-pity, never fighting for more in a significant other nor myself, accepting this mediocre acceptor of life as the man I wanted next to me during battle. But I knew deep down I was meant for more. I just couldn't see what more even looked like.

So after losing everything I held dear to my heart, every single support system turning their backs , every family member forgetting they had a daughter named Alina, or a older sister that would be there for them at the drop of a hat yet , but the act never reciprocated. And then the most abusive, traumatizing relationship, almost bringing me to my grave by his hand, I was able to get out of thank god. I sat in my motel room in mesa arizona, after a night's work at the strip club ( I could no longer work in a salon after my ex and his mother falsely reported me to state board and I had my license revoked) I sat there all alone . Like I did every night. I didn't have parties, or people over, or guys over even. I sat their night after night . Sometimes crying in fetal position about how lonely I was and how bad I had fucked everything up in my life. And after the tears refused to come out, I would lie there and look at the wall. With no light at the end of the tunnel . No sight of my future whatsoever. How could anyone love me right ? I just needed someone next to me, that would make me feel better right? The instant gratification of having someone put their arm over me so I could finally fall asleep. All i can remember is how badly I wanted someone to tell me I was going to be ok.

Until one night.

I was in my motel room once again, and I wish I could tell you exactly how it happened . But the best way I can describe this moment is simply like a smack across the back of my head by my guardian angel and a simple “ WAKE UP “  You're going to be just fine silly girl, in fact you're going to be wonderful. And you aren't lonely, you are awesome and can have a blast ALL BY YOURSELF. As these feelings and words are running threw my noggin I am literally feeling my soul move again for the first time is a long while, this shift , this excitement, like the first day of school , not just any year of school even. Like the first day of kindergarten, or possibly 6th grade where you were the top dogs in the entire school and your friends were all there established in their self made image, always by your side and you knew it would stay that way. You having the coolest backpack, pink jelly chunky heeled sandals that made your feet stink so bad but you didn't care because you knew that you looked PHAT.

That was the excitement I started to feel, welling up in my chest, then stomach and filling up my lower half, and shooting back up to fill the empty chest cavity that my full heart had once occupied and routinely filled with every expand and compressing beat of my heart.Then  up into my skull and behind my eyes this energy began filling my body up with warm comforting energy, so much so that i was practically bursting at the seams with what this epiphone truly meant. It meant that  

I was going to be just fine . That I didn't need an instant anything. I didn't need someone there beside me in that room, besides the room was too small anyway, Nor did I need someone's arm around me so I could fall asleep. Infact! I would be lying to myself, I am fully aware my warm body would have just overheated with that heavy arm flopped over me and I would have hated it.

My truths came to me, quicker than expected even. Truth, I knew that my happiness was in my hands and I was in charge of my world. No one else.

And I would never stop striving everyday to be one step closer to my goals.  

I finally broke down one section of that revolving door, I’ve learned to love myself, live by myself , and my self worth.  Don't get me wrong , I'm still strengthening them daily, and I have lots to learn about life. Since we all know the universe doesn't let us pause for a breath ever. Before kicking us in the butt and telling us to keep going.. Now brings me to my next dilemma .

What happens when you've been single ( for the most part ) for over 2 years, have become so used to not having to answer to anyone or having take others feelings into consideration, or even worry about having any word close to Love come out of your mouth towards the opposite sex.  And the universe puts The One directly in your path, no way to dodge this curveball. That's it, he just introduced himself, and you to him.  The connection has been made.

Now what the hell am I supposed to do?