Bill being forced to say the truth is such a fun concept though. I imagine Ford's the most likely candidate to hit Bill with a truth spell. Now he can expose Bill's nature once and for all! And find out what secret evil plans the demon has involving his nephew. 😠
Only it completely backfires because Bill acts the exact same as he usually does? After all, Bill usually doesn't have a reason to lie to the Pines family. Will he omit the truth? Totally! But rarely does he outright lie.
(But anyway, the plan backfires and Stan and Mabel are not convinced. "Yeah Bill's a jerk but he's not actually harmful", they say, with no knowledge of the countless atrocities he's committed.)
So Bill continues to act like his usual asshole self, completely unaware that he's under the influence of a truth spell. Until he sees his husband do something smart/cute/whatever. Before Bill even realizes, he's saying the sappiest, most gooey sedimental shit any demon has ever heard. Like "You're perfect, I love you so much". Completely unfiltered thoughts. The stuff he even lies to himself about. "You make me so happy. I'm so glad I met you".
The best part is that the situation is even worse (for Bill) the angrier he gets. "I hate you" comes out as "I love you". "You're the worst thing that ever happened to me" comes out as "The best thing". At one point, he accidentally says you're lucky I love you when he meant to be threatening. Everything is terrible. Dippers trying to figure out a cure and Bill can't help because he's to busy throwing up his organs. All the sedimental bullshit is making him sick.
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Martin's always a carer, a protector, a helper... Someone who's willing to jump in and do what's needed, someone that watches out and tries to predict what's going to happen so he can help, so he can stop things from going wrong.
I don't need to tell you that this is probably a product of his mother's behaviour; if he kept everything in check then what reason would she have to hate him anymore? It never worked, of course, but that's besides the point.
We see it too in early seasons. Anyone would be eager to impress their boss (particularly if they're in love with them), but Martin's eagerness is always filled with such care, such desperation to please. Just because a trait came from a bad place, does not necessarily mean it is a bad thing.
Along with this, his Web-like desire to keep things under control makes him irreplaceable, a valuable person to have around, because he's entirely unable to conceive that he could be valuable solely as himself. He's so devoted to others that committing himself to the lonely to save them was an obvious choice, which says more on the matter than I ever could.
These traits all shine through particularly visibly when things are out of control, like during Daisy's appearance in season 5. From the beginning of the situation it's clearly not going how it's supposed to, and Martin finds himself alone faced by a monster that he can do nothing about.
Without Martin there, there's a chance that Basira and Jon could've missed Daisy altogether, so as usual he's responsible for holding things in place, but as the situation degrades so does his handle on it. Of course his kindness makes it hard to deal with, makes him flinch at the wrong moment-what's another thing to blame himself for?
But when Daisy attacks Jon, that's when things really fall apart. Seeing his partner at risk and in pain after the comfort of his resistance to injury? Attacked not only by a beast, but one that was a friend at some point, if she ever really was... Perhaps this was what was in front of him the whole time but he never could bring himself to look hard enough.
Jon trying to sacrifice himself, Basira trying to take action, Daisy uncontrollable; all Martin has in him is to yell! To scramble for control and some semblance of survivability. And there's no relief at Jon's release, the mess carries on.
The injury is bad. The type of wound that makes you feel the blood drain from your face, that makes you want to burst into tears, but no, there's no time for that. Feeling emotions is not as important as regaining composure. But God, there's barely enough time to even help Jon, Basira needs guidance too, if she can't go through with this who knows what will happen?
Basira and Jon are living through the experience whilst Martin tries to control it, but some things cannot be controlled and there's simply no use trying to fight against the tide. Nothing could be done to change the outcome, but if Martin doesn't try then of course it's his fault.
Whatever he did, things would end the way they did. You can hear him reaching out though, desperately trying to keep the group tied together; being bound by the archives was awful but at least the group was kept together to some extent.
But here there's nothing he can do. Their paths have parted, things play out the way they always would, and they're sent marching towards their awful fate.
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Reading through all those 911 fics on my chronological buddie fic journey (I've finally reached s6 part 2) has taught me two things:
1) what a passenger princess is, and
2) that Eddie Diaz is one, is a generally accepted fanon.
Unfortunately I haven't much of an artistic inclination (when it comes to drawing anyway) because ever since I was introduced to the concept I haven't been able to get out of my head the image of Eddie rocking a t-shirt that says, in some sort of classic graphic tee style,
"Passenger princess in the streets
Pillow princess in the sheets"
(and right next to him, Buck in a shirt that says "<- I'm his ride")
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man i have really been thinking about worldbuilding and exposition in books recently
when i was like, i don’t know, twelve-ish, I picked up this book about a teenage girl in a spy school. and i absolutely fell in love with it - I thought it was incredibly neat how the book just seemed to drop me into the middle of the story, even starting in the girl’s second year. in fact, the main character frequently referenced events from her first year (falling in love with a civilian, things ending badly, finding secret passageways, losing her mother’s trust etc.)
and I actually really enjoyed the fact that the character had a rich and vibrant life outside of what i had read and that the book didn’t go out of its way to explain her past in flashbacks or anything. i understood the main takeaways and why she was reacting to things based on what i gleaned, and more than that i understood the growth of the character, why she was cautious in certain places but reckless in others, etc and i felt smarter for not being handed the answer on a silver platter
anyway it wasn’t until i finished the book and realized there was a sequel that i looked it up and found out that. in fact. i had started with the second book in the series.
oops.
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I love the theory of Mike’s unsent letters to Will being signed "love, Mike" and Mike giving Will the letters and Will seeing the sign off and realizing what it means, but let's be real, neither Mike nor Will would notice the difference if it wasn't mentioned before hand.
Mike would only be thinking about it because El brought it up in the past, and he'd realize he signed Will's letters "love, Mike" so when he gives the letters to Will, he's super nervous for Will's reaction but Will just goes, "aw this is so sweet I didn't know you tried to reach out to me. Thanks for not forgetting about me even if you never sent the letters. Sorry for getting mad at you. You're such a good friend."
And Will wouldn't acknowledge the sign off at all because most people don't notice that kind of stuff. In Will’s mind, a sign off is a sign off, whether it said "Mike," "your friend, Mike," "from Mike," or "Love, Mike."
He'd just be happy to know that Mike didn't forget about him in the first place.
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